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i <br /> 20 <br /> T <br /> I I r I O3ytFi <br /> 1ra. <br /> ?L: t:rea, ,t'• •fix , .t ' _ _ :art °.' :'1 <br /> Sri. r.,,R'f.-cT t.,:'u3:+ �S rya;••i ^i- `f•'t • T -�, t '{'t <br /> 1 . OFF <br /> FF <br /> OFF <br /> FIO <br /> ^/,,yy� <br /> 4- Ado <br /> f ' <br /> FF <br /> NIP <br /> < _ . <br /> OP FF <br /> IF <br /> ;,• i: <br /> i `+ . E`•C '?- :r• a:� 1!'. `, .t<_ .•t7 "d <br /> usp— <br /> J - t , C. t'+� It ifi• f}�lriry}�(�'-. �: • . ^-f:lstf,f�'i'»..�. crf`' <br /> • +y .1:�L•.lK.jfiti-,'�'. .3 ,_ l`" <br /> FF <br /> FL <br /> 4 _ • ,nr,'r .y ' ,- 1�. 'tTeYN. .rt." <br /> M - �: .::t, ..J. 4 4 'I' ' !..', .Fii ''Xi SR . Nt <br /> p , F <br /> OFF <br /> , For <br /> :a ' � ��' ' �,� _ + Ex`!• 3f - "; -`'i <br /> . 0 {41P ri is _`•r^ ` OF, <br /> IF 4 <br /> •f j �1t1 }.-� } t rt.{ -�i. ` �:'?`�• '� <br /> FF <br /> OFF, t' IOr, tt <br /> wn - <br /> O ;all <br /> .. \• . - <br /> OFF, F <br /> ' OF FFFL OF ad.- <br /> STEVE ROSENBERG, ABOVE, AT <br /> OLANA, FREDERIC CHURCHES <br /> „ Each new gene B <br /> ration must E VILLA; THE TOWER <br /> BEHHINDIND HIM WAS THE PAINTER'S <br /> decide for itself how to inter ret STUDIO , OPPOSITE, THE HUDSON <br /> RIVERFRONT PARK AT ATHENS <br /> this landscape , " says S eve <br /> Rosenberg , director of the Scenic story sawmill , but try to block out today's plant-a 400-foot <br /> Hudson Land Trust. smokestack, spewing a mile-long plume of steam , grinding out <br /> noise day and night, " <br /> i <br /> composite , fictionalized views ; none of its artists pretended CROSS THE HUDSON from Cole's modest Cedar <br /> to be documenting the land . Yet the school did begin to Grove rises the mansion built by his most illustrious <br /> reflect development in the valley. By 1850 , cows wander pupil, Frederic Church. Cole may have founded the <br /> into wild scenery. River vistas show an occasional mill or Hudson River School, but Church took the movement to the bank <br /> bridge , however picturesque . Stumps appear on the moun- at the height of its popularity. One of the most financially suc- <br /> tain peaks . Cole , a few years before his death , included his cessful 19th-century artists, he traveled widely beyond the riverval- <br /> own " common detail" : a locomotive steaming through River ley to Mexico, South America , and the Arctic in search of larger, <br /> in the Catskills ( 1843 ) . grander views . His most famous painting, Heart of the Andes , <br /> Though it's possible , as some Hudson River School scholars received a stunning commission of $ 10 ,000 . It toured London, <br /> argue , that these details were deliberate social commentary, a New York, and then smaller US. cities like a circus act. Church prow, <br /> + kind of proto -environmentalism responding to the destruction moted the painting tirelessly. More than 12,000 people paid 25 cents <br /> of nature , it is far more likely that the artists simply changed, to gape at the 10-foot-long canvas draped in curtains and buntinga <br /> admitting the possibility that architecture could lend something Church used the proceeds from Heart of the Andes to build <br /> positive to a landscape . If the Hudson River School artists Olana , an exotic Persian villa with 360-degree views of the river <br /> learned to incorporate elements of industry into their work, can valley. Now managed by New York's parks department, the <br /> we fit them into our lives as well? house museum and studio is the second most visited historic site <br /> "I've argued endlessly with some developers who point out in the valley (the Vanderbilt mansion in Hyde Park is number <br /> that the Hudson River School painters lived with industry," Kelly one) , receiving 300 , 000 visitors annually. <br /> says. "The artists even included it in their work, they say. But now Church came to Olana to enjoy and paint the scenery, but <br /> It <br /> it's a question of scale . Back then you could co-exist with a two- he also hoped to create a living-landscape painting out of the <br /> A uaFSRRVATION <br />