Scenery Paintings Nature Biography
(Source google.com)
Roger Casteleyn was born in Antwerp , Belgium . A self taught artist who started
do draw cityscapes and various other objects in his youth. First of all his
works were in black and white, just using pencil. In 1985, because of his
increasing interest in flora and fauna, he changed his technique from black and
white to colour using paint. "The challenge of making a painting is the
start: the white canvas that has to be filled with a composition that is
completely yours and can still be modified to your idea of that moment. There
are a couple of choices that face the artist when making a new artwork: Find an animal to fit in the landscape you'd
like to paint. Create a suitable surrounding for an animal as
subject; Portray the animal from up
close, as a portrait. Choosing between these possibilities is sometimes
difficult but makes painting a new adventure all over again." Roger mostly paints with oil and
acrylic. His paintings are in several collections all over the world. Church was
the son of Eliza (née Janes) and Joseph Church. The family's wealth came from
Church's father, a silversmith and watchmaker in Hartford , Connecticut .
(Joseph subsequently also became an official and a director of The Aetna Life
Insurance Company.) Joseph, in turn, was the son of Samuel Church, who founded
the first paper mill in Lee ,
Massachusetts in the Berkshires.
The family's wealth allowed Frederic Church to pursue his interest in art from
a very early age. At eighteen years of age, Church became the pupil ofThomas
Cole[2] in Catskill , New York after Daniel Wadsworth, a family
neighbor and founder of the Wadsworth Atheneum, introduced the two. In May
1849, Church was elected as the youngest Associate of the National Academy of
Design and was promoted to Academician the following year. Soon after, he sold
his first major work to Hartford 's
Wadsworth Athenaeum.
Church was the product of the
second generation of the Hudson
River School
and the only pupil of Thomas Cole, the school’s founder. The Hudson River School
was established by the British Thomas Cole when he moved to America and
started painting landscapes, mostly of mountains and other traditional American
scenes. Cole, along with his friend Asher Durand, started this school in New York ; it was the
first well-acknowledged American artistic movement. The paintings were
characterized by their focus on traditional American pastoral settings,
especially the Catskill Mountains , and their
romantic qualities. This style attempted to capture the wild realism of an
unsettled America
that was quickly disappearing, and the feelings of discovery and appreciation
for natural beauty. His American frontier landscapes show “ expansionist and
optimistic outlook of the United
States in the mid-nineteenth century.”
Church did differ from Cole in the topics of his paintings: he preferred
natural and often majestic scenes over Cole’s propensity towards allegory.
Church, like most second
generation Hudson River
School painters, used
extraordinary detail, romanticism, and luminism in his paintings. Romanticism
was prominent in Britain and
France
in the early 1800s as a counter-movement to the Enlightenment virtues of order
and logic. Artists wanted to idealize pastoral scenes that exhibited the wild
and free beauty of nature. This tradition carries on in the works of Frederic
Church, who idealizes an uninterrupted nature, highlighted by creating
excruciatingly detailed art. The emphasis on nature is encouraged by the lack
of people, low horizontal lines, and preponderance of sky to enhance the
wilderness. The technical skill comes in the form of luminism, a Hudson River School innovation particularly present
in Church’s works. Luminism is also cited as encompassing several technical
aspects, which can be seen in Church’s works. One example is the attempt to
“hide brushstrokes,” which makes the scene seem more realistic and lessen the artist’s
presence in the work. Most importantly is the emphasis on light (hence
luminism) in these scenes. The several sources of light create contrast in the
pictures that highlights the beauty and detailed imagery in the painting. Church began his career by
painting classic Hudson River School scenes of New York
and New England, but by 1850, he had settled in New York . Church’s method consisted of
creating paintings in his studio (in the cold, barren months of the year) based
on sketches (some in oil) created of views in the Summer months. In these
earlier years of his career, Church’s style was incredibly reminiscent of that
of his teacher, Thomas Cole, and epitomized the Hudson River School ’s
founding styles. Church’s work was immediately divergent from Cole’s focus on
ethereal, almost mythological, scenes, but his early work did resemble Cole’s
tone. Church focused on scenes composed of rich reds, purples, and oranges to
give depth to his work and emphasize the richness and fantasy of the scenery.
Church took two trips to South
America, and stayed predominantly in Quito ,
Ecuador , the
first in 1853 and the second in 1857. One trip was financed by businessman
Cyrus West Field, who wished to use Church's paintings to lure investors to his
South American ventures. Church was inspired by the Prussian explorer Alexander
von Humboldt's Cosmos (about “the Earth, matter, and space”) and his
exploration of the continent in the early 1800s; Humboldt had challenged
artists to portray the "physiognomy" of the Andes .
After Humboldt’s Personal Narrative of Travels to the Equinoctial Regions of
America was published in 1852, Church jumped at the chance to travel and study
in his icon’s footsteps (literally, as he stayed in Humboldt’s old house) in Quito , Ecuador .
When Church returned in 1857 he added to his landscape paintings of the area.
After both trips, Church had produced four landscapes of Ecuador : The Andes of Ecuador (1855), Cayambe
(1858), The Heart of the Andes (1859), and Cotopaxi
(1862). It was the Heart of the Andes that won
Church fame when it debuted in 1859. The painting pictures several elements of Quito ’s nature combined
into an idealistic portrait of a jungle scene. Despite having clear perspective
and foreshortening, Church keeps every detail (even those of the mountains in
the back) in crystal clear detail. In addition, The Heart of The Andes is also
a documentation, a scientific study of every natural feature that exists in
that area of the Andes .
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