Painting the inhabited landscape
type: CreativeWork
about: DefinedTerm
  alternate name: Landscape painting, American--19th century
about: DefinedTerm
  alternate name: Marine painting, American--19th century
about: DefinedTerm
  alternate name: Harbors in art
about: Person
  alternate name: Lane, Fitz Henry, 1804-1865
about: https://id.rijksmuseum.nl/320128887
about: https://id.rijksmuseum.nl/320129807
about: https://id.rijksmuseum.nl/320129936
about: https://id.rijksmuseum.nl/320130123
about: https://id.rijksmuseum.nl/320130213
about: https://id.rijksmuseum.nl/320131822
about: https://id.rijksmuseum.nl/320131838
about: https://id.rijksmuseum.nl/320133372
about: https://id.rijksmuseum.nl/330135886
about: https://id.rijksmuseum.nl/330136194
about: https://id.rijksmuseum.nl/330137783
abstract: "Examines landscape, harborscape, and seascape paintings by Fitz H. Lane (1804-1865) that comment on agriculture, extraction industries, settlement patterns, trade, and the political economy of nineteenth-century coastal New England."-- Provided by publisher.
abstract: "The impulse in much nineteenth-century American painting and culture was to describe nature as a wilderness on which the young nation might freely inscribe its future: the United States as a virgin land, that is, unploughed, unfenced, and unpainted. Insofar as it exhibited evidence of a past, its traces pointed to a geologic or cosmic past, not a human one. The work of the New England artist Fitz H. Lane, however, was decidedly different. In this important study, Margaretta Markle Lovell singles out the more modestly scaled, explicitly inhabited landscapes of Fitz H. Lane and investigates the patrons who supported his career, with an eye to understanding how New Englanders thought about their land, their economy, their history, and their links with widely disparate global communities. Lane’s works depict nature as productive and allied in partnership with humans to create a sustainable, balanced political economy. What emerges from this close look at Lane’s New England is a picture not of a 'virgin wilderness' but of a land deeply resonant with its former uses―and a human history that incorporates, rather than excludes, Native Americans as shapers of land and as agents in that history. Calling attention to unexplored dimensions of nineteenth-century painting, Painting the Inhabited Landscape is a major intervention in the scholarship on American art of the period, examining how that body of work commented on American culture and informs our understanding of canon formation."-- On front flap of dust jacket.
author: https://id.rijksmuseum.nl/310221630
creator: https://id.rijksmuseum.nl/310221630
language: eng
subject of: Statement
  additional type: http://vocab.getty.edu/aat/300195187
  text: Introduction : a small city with a far reach -- Reputation : Lane, Gloucester's "own artist," 1842-1865 -- Value : Lane, 1865-2020 -- Canvas : names, naming, and identity -- Fish : Lane's Gloucester -- Lumber : Lane's Maine -- Granite : shipwreck with spectators -- Travelers I : Surinam and California -- Travelers II : Ireland, China, Puerto Rico -- Conclusion.
subject of: Statement
  additional type: lang
  text: In English.
temporal coverage: 1800-1899
work example: https://id.rijksmuseum.nl/301326374

PropertyValue
property ID: NL-AmRIJ
value: 326374