Cover image for Hudson River School visions : the landscapes of Sanford R. Gifford
Hudson River School visions : the landscapes of Sanford R. Gifford
Gifford, Sanford Robinson, 1823-1880.
Publication Information:
New York : Metropolitan Museum of Art, [2003]

Physical Description:
xiv, 273 pages : illustrations (some color) ; 27 x 29 cm
General Note:
Catalog of an exhibition at The Metropolitan Museum of Art, Oct. 8, 2003-Feb. 8, 2004.
Nature distilled : Gifford's vision of landscape / Franklin Kelly -- Gifford and the Catskills / Kevin J. Avery -- A traveler by instinct / Heidi Applegate -- Tastes in transition : Gifford's patrons / Eleanor Jones Harvey -- Catalogue -- Chronology / Claire A. Conway and Alicia Ruggiero Bochi.


Format :


Call Number
Material Type
Home Location
Item Holds
ND237.G4 A4 2003 Adult Non-Fiction Central Closed Stacks-Oversize

On Order



Sanford Robinson Gifford was a leading Hudson River School artist. His love of nature first surfaced as a youth growing up in Hudson, New York, and, together with his admiration for the works of Thomas Cole, inspired him to become a landscape painter. Influenced as well by J.M.W. Turner and by trips to Europe in the 1850s, Gifford's art was termed air painting, for he made the ambient light of each scene - colour-saturated and atmospherically enriched - the key to its expression. death, he was so esteemed by the New York art world that the Museum mounted an exhibition of his work - its first accorded an American artist - and published a Memorial Catalogue that for nearly a century remained the principal source on the artist. School, his Catskill and Adirondack subjects, his patrons, and his adventures as a traveller both at home and abroad. More than 70 of the artist's best-known sketches and paintings are discussed and reproduced in colour.

Reviews 2

Library Journal Review

Among the loose grouping of Hudson River School painters, Sanford Gifford (1823-80) was perhaps the only one who sought not to copy or replicate nature but instead to produce an "impression" of a scene that appealed to the emotions and senses of the viewer. "Bathed in light" and "soft radiance" were ways his contemporaries described the distinctive, ethereal, and atmospheric qualities of Gifford's paintings. Though he was a highly acclaimed painter of the second generation of Hudson River School artists, Gifford has not enjoyed wide scholarly recognition or inspired extensive research. The exhibition on which this catalog is based is the first devoted to his work in 30 years and only the second since his memorial exhibition in 1884. The exhibition and catalog are the result of a collaborative endeavor between the Metropolitan Museum of Art and the National Gallery that represents a long-overdue effort to examine the life and work of an important American artist. Serving as editors are Avery and Kelly, the curators of American paintings at these institutions, respectively, and contributions are made by other scholars. The catalog consists of four accessible and well-written essays, an artist's chronology, and 70 full-color entries, each containing a wealth of footnoted information. Highly recommended.-Kraig Binkowski, Delaware Art Museum, Wilmington (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Choice Review

The scholarly study of American art has consistently been enriched by museum exhibition catalogs. This landmark Gifford publication, a joint venture of The Metropolitan Museum of Art and the National Gallery of Art, is a beautifully produced, welcome contribution that fills a substantial gap in the history of 19th-century American landscape painting. The authors wisely eschew a monographic approach in their essays, instead favoring one that resourcefully probes Gifford's identity as a painter of luminously atmospheric American, European, and Middle Eastern landscapes by analyzing his methods, subjects, travels, and patrons. This positions the artist firmly in his time, as does each author's meticulous attention to primary source materials and social historical context; Gifford thus emerges as a noteworthy figure in a landscape that includes such better-known painters as Frederic Edwin Church and Albert Bierstadt. Those seeking biographical information will find it in a detailed chronology that also usefully includes reference to relevant historical events. The richly informative catalog of works included in the exhibition is yet another asset. Each entry includes detailed information about the painting, including exhibition histories, together with an essay outlining the significance of the piece in the artist's oeuvre. ^BSumming Up: Highly recommended. General readers; lower-division undergraduates through faculty. K. Rhodes Hollins University