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Landscape Painting

by Asher B. Durand

Two historical approaches to landscape painting

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AlbakiReads Editorial

Two historical approaches to landscape painting

This volume brings together Asher B. Durand’s nine 1855 articles on learning landscape painting and Birge Harrison’s twenty-one lectures, delivered to students at the Art Students League’s summer school in Woodstock in the early 1900s. Their different formats—articles and lectures—offer two historical perspectives on teaching the craft, tied to the Hudson River School and the American Tonalist movement. The collection’s defining feature is this pairing: writings from two influential American landscape-painting traditions gathered in one book. The description presents the material as instruction for both aspiring and professional painters, rather than as a contemporary manual of oil-painting technique.

Good fit for readers who enjoy

  • Painters interested in historical approaches to landscape painting
  • Students seeking instructional writing associated with the Hudson River School or American Tonalism
  • Readers interested in the history of American art education

Themes

Landscape painting instructionHudson River SchoolAmerican TonalismHistorical art education

Based on publisher information and book metadata.

Book overview

In 1855, Asher B. Durand, a founder of the National Academy of Design and a leading member of the Hudson River School, wrote a series of articles for his son's art magazine, The Crayon. The nine articles, Letters on Landscape Painting, outlined Durand's thoughts on learning how to paint landscapes. They are considered by many to be the textbook for the Hudson River School. In the early 1900s, Birge Harrison, a prominent figure in the American Tonalist movement and a director of the landscape school of the Art Students League, gave a series of lectures to the students at the League's summer school in Woodstock, New York. He later compiled those twenty-one lectures into the book, Landscape Painting. Then, as now, the book was considered to be a standard work for students. This volume presents Durand's and Harrison's writings together for the first time. We will never know what each might have thought of their words being combined in such a way, however, over the years hundreds of budding landscape painters and professionals alike have found value in these writings. It only seems fitting that the textbooks of two of America's great landscape painting movements be made available in a single work.
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