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El Rio de Luz (The River of Light)

Frederic Edwin Church1877

National Gallery of Art, Washington DC

National Gallery of Art, Washington DC
Washington, DC, United States

Latin America, with its rich histories and cultures — as well as dense jungles, towering volcanoes, and mountain ranges — fascinated American artists in the mid-19th century. Frederic Edwin Church traveled in the tropics and used the sketches he made in different locations to create popular landscape paintings.


As the title suggests, this work is about both water coursing through a landscape and light moving through space. The trees crowding the scene draw our eye along the still, reflective surface of the river. The sun’s rays lead us from the water to the glowing air above, where they seem to join earth and heaven. In the distance, a tiny figure in a canoe is on the verge of vanishing into the mists.

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  • Title: El Rio de Luz (The River of Light)
  • Creator: Frederic Edwin Church
  • Date Created: 1877
  • Physical Dimensions: overall: 138.1 x 213.7 cm (54 3/8 x 84 1/8 in.) framed: 160.7 x 237.5 x 7.6 cm (63 1/4 x 93 1/2 x 3 in.)
  • Provenance: William Earl Dodge, Jr. [d. 1903], New York;[1] his wife, Mrs. William Earl Dodge, Jr. [d. 1909], New York; her grandson, William Earl Dodge IV [d. 1927], New York;[2] his wife, Ella Lynch Dodge [d. 1964], New York; her stepdaughter, Diana Dodge Ryan, Newport;[3] given in 1965 to the Preservation Society of Newport County, Rhode Island; purchased 9 December 1965 by NGA. [1] William Earl Dodge, Jr., was the son of a prominent New York merchant. His brother, David Stuart Dodge, was a missionary and a founder of Syrian Protestant College in Beirut (present-day American University of Beirut), where he was the first professor of modern languages. D. S. Dodge accompanied Church on his travels in Syria and the Holy Land in 1868; see David C. Huntington, _The Landscapes of Frederic Edwin Church: Vision of an American Era_, New York, 1966: 93, and John Davis, "Frederic Church's 'Sacred Geography.'" _Smithsonian Studies in American Art_ 1 (Spring 1987): 81. Although it is reasonable to assume that D. S. Dodge was instrumental in arranging the commission of _Morning in the Tropics_, there is no evidence documenting his role. [2] William Earl Dodge IV was the son of William Earl Dodge III, who died in 1884. [3] William Earl Dodge IV bequeathed the painting to his daughter, Diana Dodge (later Ryan), but gave his second wife, Ella Lynch Dodge, a life interest. Ryan (letter of 3 March 1966 in NGA curatorial files) saw the painting twice: in 1921, when it was hanging in the dining room of her father's yacht; and then next "in early 1965," a few months after her stepmother's death in October 1964.
  • Rights: CC0
  • Medium: oil on canvas
National Gallery of Art, Washington DC

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