A Century of American Landscape Art

An exploration of landscape paintings collected by The National Arts Club over the last 100 years

By The National Arts Club

View of Cemetery, Men's Shelter (2018) by Lois DoddThe National Arts Club

Artist Lois Dodd is known for the careful simplicity of her paintings, that illustrate her attentiveness to, and appreciation for, the scenes she encounters in her immediate environment. In much of her work we see the view out the window of her Lower East Side apartment.

Foothills (1910) by Emil CarlsenThe National Arts Club

Originally known for his still lifes, painter Emil Carlsen expanded his work to landscapes late in his career.

In this painting, Carlsen captured the foothills of the Berkshires, not far from his home in Connecticut.

An Upland Meadow (1917) by Philip LittleThe National Arts Club

Though best known for his vibrant scenes of the wharves and harbors of the New England coast, Philip Little created a series of landscapes during his summer stays on MacMahon Island off the Maine coast. These highly individual works demonstrate a poetic exuberance in the handling of light, color and atmosphere.

White Roses (1914) by Philip Leslie HaleThe National Arts Club

Philip Leslie Hale often chose to paint his female models outdoors, wearing light and flowing gowns.

His paintings captured the natural light of the moment while blending his figures into the background. At the time, critics considered Hale's approach extremist.

Naples Yellow (1985) by Larry RiversThe National Arts Club

Having only one year of formal artistic training, under the painter Hans Hofmann, Larry Rivers was one of the most important American artists of the postwar era creating a personal hybrid of Abstract Expressionism and narrative Pop imagery.

The Wild Grape Vine (1908) by Daniel GarberThe National Arts Club

Danile Garber, one of the most interesting and original of American Impressionists, was a leading figure in the Pennsylvania School of landscape painting centered around the village of New Hope. Renowned for his poetic and quietly lyrical landscapes, Garber was a talented figure painter as well.

Morning in the Pasture (Summer Morning) (Before 1916) by Edward C. VolkertThe National Arts Club

During his lifetime, Edward C. Volkert became known as “America’s cattle painter,” for his numerous depictions of cows and bulls in rural settings. In this painting, he captured an early summer morning.

Fields of Goldenrod (1925) by John E. CositganThe National Arts Club

John E. Costigan’s body of work included oil and watercolor paintings, etching, and lithography.

Many of his compositions showed the rural life he lived, often with his wife and children serving as models.

Woods in November (1924/1925) by Wilson Henry IrvineThe National Arts Club

Wilson Henry Irvine traveled frequently, scouting new locations in which to paint landscapes en plein air. Despite the looming shadow of modernism, and the art market’s shifting tastes, he remained relevant as an impressionist painter until the end of his life.

Woodland Idyll (1917) by John F. CarlsonThe National Arts Club

Attracted by the unique scenery of the Catskill Mountains, John F. Carlson eventually settled outside of Woodstock, NY, painting lyrical images of forestry and forming a long-term relationship with the town’s artist colony.

Canal in Winter (1916) by John Fulton FolinsbeeThe National Arts Club

John Fulton Folinsbee was a member of Pennsylvania's New Hope artist colony. While the majority of his colleagues fixated on the picturesque quality of the surrounding landscape.

Folinsbee focused on the industrial life of the region finding powerful and poetic imagery in the canals, factories and mills.

Upstairs (1980/1991) by Will BarnetThe National Arts Club

As both a painter and a printmaker, Will Barnet valued concept and technique. An extremely dynamic artist, Barnet changed his style significantly throughout his career with early works influenced by social realism followed by abstract and stylized figurative work later in his career.

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