Frederic Edwin Church

An Exotic Cake Knife

Cakes and ice cream were the rage in the United States in the nineteenth century. People often entertained at tea and for dessert parties, so this meant the implements to serve these treats were often specialty items that did not match silver services for the dinner table. Some cake knives doubled as ice cream saws as their cutting edge could also saw through the brick-like consistency of ice cream kept cold with blocks of ice.
cake knife, cake saw, ice cream saw, exoticism, Frederic Edwin Church, Lockwood de Forest, silver, flatware

A Frequently Asked Question

This view of Frederic Edwin Church’s home Olana outside Hudson, New York is one of 2,035 oil sketches and graphite drawings by Church in Cooper-Hewitt’s collections.   The Church archive represents the largest collection of the artist’s works on paper in the world!  Church was one of the most prominent figures in the Hudson River School, the only student of the movement’s founder Thomas Cole.   Church’s breathtaking and luminous depictions of landscapes both in America and abroad have earned him the status as one of the most beloved art
Frederic Edwin Church, Olana, landscape, Hudson River School, Thomas Cole, gardens

Alchemy In Situ

“The trip was … one of risk … no one is allowed to sketch alive there … an artist who ventured there was shot while attempting a sketch … I flung open my sketchbook and drew the scene roughly … we then dashed down the path and seized another view and so on sketching and running...”[1] Frederic Edwin Church thus describes snatching a sketch in Petra.
Frederic Edwin Church, landscape, Niagra Falls, Thomas Cole, Hudson River School

A House of Unique Character

Anna Alma-Tadema, Sir Lawrence Alma-Tadema, Townsend House, St. Regent’s Park, drawing, Sir Frederick Leighton, William Burgess, Frederic Edwin Church, Olana, Albert Bierstadt, Royal Academy of Arts, Architecture, interiors

Hauntingly Beautiful: Frederic Edwin Church’s Parthenon Sketch

Home of the mythological goddess Athena, the Parthenon is a hauntingly sacred place where the air is ominously rife with magic. Or, at least, that is the mood evoked in Frederic Edwin Church’s (1826-1900) oil sketch of the Parthenon. To create this effect, Church chose to paint the building from below, giving the impression that it looms over the viewer. In reality, this particular view of the Parthenon does not exist, but is rather contrived from composite views and memory. The contrast of red and blue illumination was also almost certainly invented by the artist.
Frederic Edwin Church, Thomas Cole, Parthenon, Hudson River School, Romanticism, artificial lighting, Greece, composite view, Metropolitan Museum of Art, American landscape, Architecture, columns, icebergs, nature, Athena, mythology, paintings

An Exhibition of American Drawings: Assembled for the United States Information Agency by the Smtihsonian Institution Traveling Exhibition Service

drawings, American, Winslow Homer, Frederic Edwin Church, Samuel Colman, Robert F. Blum

Close Observation: The Oil Sketches of Frederic E. Church

A selection of 112 works from more than 500 oil sketches in the Museum's collection. The development of Church's mastery of the medium and as well as the maturation of his individual style can be seen in these sketches, some of which are preparations for larger works while others are finished works in themselves.
Frederic Edwin Church, Hudson River School, American, oil paintings, sketches, traveling exhibitions, ch:exhibition=35349617

The American Landscape

More than 160 selections from the Cooper-Hewitt National Design Museum’s permanent collection of 19th- and 20th-century American landscapes are on view. This exhibition features Hudson River School artists Thomas Cole, Samuel Colman, Frederic Edwin Church, and Daniel Huntington, as well as works by Winslow Homer and others.
American landscape, paintings, Hudson River School, Thomas Cole, Samuel Colman, Frederic Edwin Church, Winslow Homer, Daniel Huntington

Training the Hand and Eye: American Drawings from the Cooper-Hewitt Collection

Seventy-five sketches and preparatory drawings are on display by 34 leading American artists, including Winslow Homer, Frederic Church, Kenyon Cox, and Thomas Moran. These unfinished works often annotations and notes, which help provide insights into the artistic process. This exhibition features selections from the more than 7,000 American drawings in the Cooper-Hewitt Museum’s permanent collection.
drawings, American, Frederic Edwin Church, Winslow Homer, Thomas Moran, Kenyon Cox, permanent collection, traveling exhibitions, ch:exhibition=35349519