GENERAL DESCRIPTION
The following essay is from the 1982 publication Dallas Collects American Paintings: Colonial to Early Modern.
John Frederick Kensett occupies an important place in the second generation of the Hudson River School and is linked by the quietude, poetic light, and compositional statis characteristic of his work with the movement known as Luminism. He was born in Cheshire, Connecticut, the son of an English immigrant engraver. After receiving his early training in the family shop in New Haven, he went in 1829 to work in New York in the engraving shop of Peter Maverick but had to return home with the death of his father. By 1838 he was working in Albany and exhibiting landscapes at the National Academy. A long sojourn in Europe from 1840 to 1848 was important for his development: traveling at first with his artist friends Casilear, Rossiter, and Durand, he spent his time mostly in England and France making engravings, sketching in the open, and copying old masaters (especially Claude) before also visiting Switzerland and Italy. Returning to New York in 1848 he took a studio in the New York University Building, Washington Square. He was elected an Associate of the National Academy that year and began making sketching trips to the Catskills, Adirondacks, and Green Mountains. Later he became a full Academician and member of the Century Association and Sketch Club. Sales came relatively easily for Kensett, and he was to enjoy the generous patronage of Robert M. Olyphant, a wealthy merchant. Extensive travels took him to Niagara Falls and Ohio in 1851, the Mississippi River in 1854, England, Wales, and Scotland in 1856, up to the Missouri River in 1857, Europe again in 1861 and 1865, and the Rockies in 1870, and many of these locales figure in his work although he is most remembered as a painter of New England mountains and the Atlantic coast. In 1859 Kensett was appointed to the US Capitol Art Commission and as a founding Trustee of The Metropolitan Museum of Art was an influential figure in the New York art world. After his death from pneumonia in 1872 his paintings and personal collection were sold at auction.
Excerpt from
Steven A. Nash, Dallas Collects American Paintings: Colonial to Early Modern, September 26- November 14, 1982, (Dallas, TX: Dallas Museum of Fine Arts), 36.
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General Description
The following essay is from the 1982 publication Dallas Collects American Paintings: Colonial to Early Modern.
John Frederick Kensett occupies an important place in the second generation of the Hudson River School and is linked by the quietude, poetic light, and compositional statis characteristic of his work with the movement known as Luminism. He was born in Cheshire, Connecticut, the son of an English immigrant engraver. After receiving his early training in the family shop in New Haven, he went in 1829 to work in New York in the engraving shop of Peter Maverick but had to return home with the death of his father. By 1838 he was working in Albany and exhibiting landscapes at the National Academy. A long sojourn in Europe from 1840 to 1848 was important for his development: traveling at first with his artist friends Casilear, Rossiter, and Durand, he spent his time mostly in England and France making engravings, sketching in the open, and copying old masaters (especially Claude) before also visiting Switzerland and Italy. Returning to New York in 1848 he took a studio in the New York University Building, Washington Square. He was elected an Associate of the National Academy that year and began making sketching trips to the Catskills, Adirondacks, and Green Mountains. Later he became a full Academician and member of the Century Association and Sketch Club. Sales came relatively easily for Kensett, and he was to enjoy the generous patronage of Robert M. Olyphant, a wealthy merchant. Extensive travels took him to Niagara Falls and Ohio in 1851, the Mississippi River in 1854, England, Wales, and Scotland in 1856, up to the Missouri River in 1857, Europe again in 1861 and 1865, and the Rockies in 1870, and many of these locales figure in his work although he is most remembered as a painter of New England mountains and the Atlantic coast. In 1859 Kensett was appointed to the US Capitol Art Commission and as a founding Trustee of The Metropolitan Museum of Art was an influential figure in the New York art world. After his death from pneumonia in 1872 his paintings and personal collection were sold at auction.
Excerpt from
Steven A. Nash, Dallas Collects American Paintings: Colonial to Early Modern, September 26- November 14, 1982, (Dallas, TX: Dallas Museum of Fine Arts), 36.
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