(The following computer-generated description may contain ...)
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Italy and that of New England at the same season, that when the peculiar features of the scenery are obscured by twilight it needs but little aid of the imagination in an American traveller to fancy himself in his own country; the bright orange of the horizon, fading into a low yellow, and here and there broken by a slender bar of molten gold, with the broad mass of pale apple-green blending above, and the sheet of deep azure over these, gradually darkening to the zenith all carry him back to his dearer home.
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The Rising of a Thunderstorm at Sea by Washington Allston - 20" x 25" Premium Canvas Print
(20" x 25" premium canvas print of The Rising of a Thunder...)
20" x 25" premium canvas print of The Rising of a Thunderstorm at Sea by Washington Allston is meticulously created on artist grade canvas utilizing ultra-precision print technology and fade-resistant archival inks. Every detail of the artwork is reproduced to museum quality specifications by our talented graphic artists. Our huge selection of over 100,000 magnificent canvas art prints, along with an exclusive collection of handcrafted frames, makes Canvas Art USA your one stop source for the finest canvas art prints for sale at direct wholesale prices.
Lectures on Art followed by The Sylphs of the Season with Other Poems
(As the word idea will frequently occur, and will be found...)
As the word idea will frequently occur, and will be found also to hold an important relation to our present subject, we shall endeavour, in limine, to possess our readers of the particular sense in which we understand and apply it.
An Idea, then, according to our apprehension, is the highest or most perfect form in which any thing, whether of the physical, the intellectual, or the spiritual, may exist to the mind. By form, we do not mean figure or image (though these may be included in relation to the physical); but that condition, or state, in which such objects become cognizable to the mind, or, in other words, become objects of consciousness.
Washington Allston was an American painter and poet, born in Waccamaw Parish, South Carolina.
Background
Allston was born on a rice plantation on the Waccamaw River near Georgetown, South Carolina. His mother Rachel Moore had married Captain William Allston in 1775, though her husband died in 1781, shortly after the Battle of Cowpens.
Moore remarried to Dr. Henry C. Flagg, the son of a wealthy shipping merchant from Newport, Rhode Island.
Education
After graduating from Harvard College in 1800, Washington Allston returned to Charleston and sold his share of the family property to finance his career as an artist. Allston studied at the School of the Royal Academy in London.
Career
Washington Allston appreciated the bravura of their technique and the resonance of their tone (which, he later wrote, moved not only his senses but his imagination).
Allston returned to America in 1808 and stayed in Boston, occupying the very room that the painters John Copley and John Trumbull had used.
Among the paintings of this second English period were the Angel Releasing St. Peter from Prison (1812) and the Dead Man Revived by Touching the Bones of the Prophet Elisha (1811 - 1813), both developed into scenes of Gothic suspense.
Allston returned to America in 1818 (where he would remain for the rest of his life), residing in Boston but spending much time in Cambridge.
His friends at this time included the portrait painter Thomas Sully and the sculptor Horatio Greenough. His old confidence was gone.
The literati— people like Ralph Waldo Emerson and Dana—admired his work, but to the public he meant nothing.
In America, portraiture and, to some extent, landscape were all that most people cared for.
In Europe, Allston had painted scenes of either a dramatically bizarre or a sweetly joyous nature.
In Europe he had pandered more openly to the emotions, liking especially themes of supernatural salvation; his American paintings are usually more intimate and smaller in scale than those done in Europe. Allston painted from memory several Italian landscapes, the most memorable being Moonlight Landscape (1819); with four mysterious figures in the foreground, it casts a quietly eerie spell.
The heroic Belshazzar's Feast (1817 - 1843) was out of keeping with the more subdued mood of the American period.
This huge canvas, begun in Europe, was taken up, put down, and taken up again at the end of Allston's life but never finished.
In a sense, Allston's failure to complete this work demonstrates the isolation and frustration of the American artist who wished to do something more than portraiture and landscape in the first half of the 19th century.
Few American painters of Allston's time drew from literature, and certainly none as deeply and broadly as he.
He made frequent use of his literary background and interests in his painting: Uriel in the Sun (1817) was drawn from Book III of Milton's Paradise Lost, and Flight of Florimell (1819) from Spenser's Faerie Queen.
"The Sylphs of the Seasons" dealt with the influence of each of the seasons upon the creative imagination.
His tendency to think cyclically in terms of the beginnings and endings of periods of nature and empires (Belshazzar's Feast) led to the "catastrophic" paintings of Thomas Cole's "Course of Empire" series and others.
Allston's insistence that colors and forms could produce psychological reactions in the spectator, regardless of the subject of the painting, anticipated the work of James McNeill Whistler and the thinking of early-20th-century theoreticians of nonobjective painting.
Most specifically, Allston was the first American painter to draw more from the workings of his personal inner vision than from external reality.
In the 19th century alone, he was the forebear of such painters as John Quidor and Albert P. Ryder.
Allston died on July 9, 1843, at age 63. Allston is buried in Harvard Square, in "the Old Burying Ground" between the First Parish Church and Christ Church.