Posts Tagged ‘Ansel Adams’

(Part 2 of 2, Part 1 text and pictures below).

The pictures in the slide show below sum up my autumnal photographic impressions of the great landscape painter Frederic Church’s exotic mansion and estate Olana, overlooking the Hudson River. The grounds, plantings and  and ponds on the estate are the works of landscape architecture, not wild nature as usually painted by Church. The water effects that October day were magical. Rippling wavelets of mutating colors were combining and recombining in startling ways. A bit like my mental impressions of Olana’s slightly surreal Persian inspired mansion.

The question again is why Frederic Church –  one of our most celebrated landscape painters – apparently conceived of Olana as his greatest work of art, when estate and home are so unnatural, so exotic, so influenced by the non-indigenous.

To me, Church in his most famous paintings captured landscape as a drama, sometimes stupendous drama like his Niagara painting. In viewing them I can easily interpret nature as the stage for that drama, even when humans are absent or seemingly insignificant in the painting. Drama implicitly anthropomorphizes the landscape. It’s like Shakespeare’s world stage, and we humans are the players all. In the service of creating excitement and tension and moods, in effect dramatizing nature, whether in art or writing, the human can so easily take center stage.

Of course, the late 18th century and first half of 19th century were the high tide of the romantic movement in art and literature, of the fascination with the “sublime” in art and landscape, of finding spiritual solace and lessons in nature. Nature was also emblematic of personal storm and strife, and of emotional exultation. At about the same time,  Transcendentalists, especially Emerson and Thoreau, read nature in deeper moods, and their writing at times evinces a near immersion in nature’s medium, a pantheism, a nearing to what some of us today call deep ecology.

Clearly Church painted in a time when a new found appreciation of wild nature was in play. The question is whether Church was merely a very skillful painter of effect, or did he sense in nature something deeper, something beyond the human, beyond the emotional impact of the spectacular. His high estimation of startling, exotic Olana would seem to favor the former, but then artists can be notoriously silly about the inspiration for their own work.

Lake Tahoe, Albert Bierstadt

Whatever the role that artful effect had on the works of Church in painting and dramatizing nature back east, Albert Bierstadt out west had it all over him. Mark Twain, for one, thought Bierstadt’s monumental paintings pompously faked nature, which he noted could hold her own. Bierstadt’s “Lake Tahoe” is singularly contemptuous of reality. Here, nature is nothing. Effect is everything.

Considering the history of American landscape painting, and landscape photography for that matter, I have the uneasy impression that really seeing the land in its multitudinous of guises, seeing in nature’s forms the artistic equivalent of “deep ecology, is rare, maybe nearly impossible.

Photographer Ansel Adams’s iconic western landscapes ooze romantic drama. They dwarf the human scale, but they are carefully composed and printed to achieve striking effects calling up human emotions. Adam’s fellow Californian Edward Weston tried to move beyond what he called interpretation, to record nature as nature, the thingness of the object. I’m not sure what that means exactly.  But at times for me he records a rock as though the rock were thinking rock thoughts. Both Adam’s and Weston are great photographers. But maybe Weston looked deeper.

The Tetons and the Snake River, Ansel Adams

But back to the ramparts of the Hudson River. Olana on a crisp Fall day is a great outing. Olana is impressive historically and the view is a knockout, or at least it was that October day. The trouble is, I ask too many questions.     SRE


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In the Ken Burns-Dayton Duncan special “The National Parks: America’s Best Idea,” Yosemite and Yellowstone get the lion’s share of attention, both for their centrality to conservation history, and because of their iconic nature, double meaning of nature intended. Of the two,Yosemite is the most photogenic, with sculptured granite walls and domes, graceful but thunderous waterfalls, and an eye-popping entry viewpoint, made famous by Ansel Adams’ remarkable cloud-hugging, snow-glazed view, “Clearing Winter Storm,” C.1937. In fact, Ansel Adams and Yosemite were nearly synonymous for my generation. Never mind the dusty summer crowds or over crowded campgrounds, it is a place of nature-magic.

Edge of Upper Falls © SR Euston

Then there’s Yellowstone, the original national park, the most famous, one of the most visited, and in my view a pretty difficult place to get the sense of photographically. (Maybe this is because of the dispersal and scale of its most dramatic highlights, contrasted with the compact intensity of Yosemite Valley.) Ansel Adams’ photographs of Yellowstone never reach the exalted heights of his more numerous Yosemite art works. (Except maybe in his geyser pictures, wispy and moody.) The watercolors of Thomas Moran, which helped sell the park idea to Congress, are to my eye more satisfying, even though they hardly represent photographic reality.

This is my Yellowstone sampling, from an early August camping trip last year. Geysers, boiling springs, rivers and canyons—the places that thousands of tourists see every day in Summer. The steaming geysers and boiling thermal features are what intrigued me most, graphically and otherwise. And I admit that the foaming geyser picture —whatever its merit—owns its essence to Ansel Adams.      SRE

Great Fountain Geyser Terraces © SR Euston

Canada Geese, Yellowstone River, Hayden Valley © SR Euston

Hot Spring, Upper Geyser Basin © SR Euston

Lookout Point, Grand Canyon of the Yellowstone © SR Euston

Great Fountain Geyser © SR Euston

Evening off Fountain Flat Drive © SR Euston

Geyser Steam at Sundown © SR Euston

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