Oakenwald School, Chicago, IL, Paintings and Water Colors, Dec.Chicago, McVicker’s Theatre Building, Chicago Exhibition of the Fine Arts of the Chicago Branch of the U.S.Chicago, Burch’s Building, Chicago Exhibition of Fine Arts First Exhibition of Statuary, Paintings, etc, 1859, cat.Barter et al., American Arts at The Art Institute of Chicago: From Colonial Times to World War I (Art Institute of Chicago, 1998), 188–90, no. David Hanks, “American Paintings at The Art Institute of Chicago,” Nov.Huntington, Frederic Edwin Church, 1826–1900: Painter of the Adamic New World Myth (Ph.D. “Art in Chicago: Americans Reinstalled,” Art Digest (Oct.Art Institute of Chicago Quarterly 45 (Sept.Guide to the Paintings and Drawings (Art Institute of Chicago, 1925), 130, no.The Bulletin of The Art Institute of Chicago 14 (Art Institute of Chicago, 1920), 28.II (Art Institute of Chicago, 1920), 56, no. Handbook of Paintings and Drawings, The Art Institute of Chicago, pt.“The Art Exhibition of the Sanitary Fair: First Alcove,” Chicago Daily Journal, Oct.“The Art Exhibition,” Chicago Tribune, Oct.Chicago Press and Tribune, June 1, 1859, 2.The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Louis Dana Webster Reference Number 1919.753 IIIF Manifest Church '57" Dimensions 62.2 × 92.7 cm (24 1/2 × 36 1/2 in.) Credit Line Gift of Jennette Hamlin in memory of Mr. (circa) or BCE.ġ857 Medium Oil on canvas Inscriptions Signed, lower right: "F. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. Status Currently Off View Department Arts of the Americas Artist Frederic Edwin Church Title View of Cotopaxi Place United States (Artist's nationality:) Dateĭates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. The painting likewise reflected an imperialist vision, as US government officials eyed Latin America as a site for territorial expansion and conquest. For Church and other Christian viewers, nature, with all its creative and destructive wonders, was evidence of divine power. The artist produced at least ten finished paintings of the Ecuadorian volcano, this one completed in his studio just before his second visit to the region. Inspired by German naturalist Alexander von Humboldt’s concept of ecological interconnectedness, Frederic Edwin Church traveled to South America to meticulously study the tropical landscape. View of Cotopaxi brings together in visual form scientific, religious, political, and cultural ideas in the mid-19th century.
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