The author quotes a critic writing about Lane (lines 25–27) most probably in order to (60) idealistic rendering of that atmosphere.ħ. Necessary for business, if also an exaggerated, Ideological justification of the atmosphere Than transcendence, is the secret message of Sense signifies no more than good conditions on the Nature’s humbled state, for the light itself is asĭocile as the Luminist sea, and its tranquillity in a The luminescence that Lane paints symbolizes (50) for human activity-nature no longer inviolate. In sum, I consider Lane’s sea simply an environment For Lane nature is subdued,Įven when storms are approaching thus, the sea isĪlways a viable highway for the transport of goods. (45) powerful element, as it is in the early pictures of his Trade route for commercial activity, not a free, For Lane the sea is, in effect, a canal or a The sea-are generally the active element in his Rather than the surrounding landscapes-including (40) rather than primitive or unexplored. Harbors, nature appears pastoral and domesticated Harbor, with ships at anchor, but even when heĭepicts more remote, less commercially active Lane usually depicts places like New York Made short trips to Maine, New York, Baltimore,Īnd probably Puerto Rico. The harbor of Gloucester, Massachusetts, and he (30) death in 1865, Lane lived in a house with a view of It is also true, however, that the 1850s and 1860s Spiritualism in America was extremely widespread.” Luminist development in the 1850s and 1860s, (25) Luminist, carefully notes that “at the peak of Harbor scenes by Fitz Hugh Lane, an important One critic, in describing the spiritual quality of Like awe and fear, which untamed nature elicits. To nature, but rather a muting of those emotions, (20) convey, not an intensification of human responses Idealized Luminist atmosphere thus seems to Suggest that the glowing appearance of nature inĭomestication, its adaptation to human use. (15) revealed by a closer examination of these works Significance of this transcendental atmosphere in What this view fails to do is to identify the true (10) the onlooker toward a lucid transcendentalism, an Mysticism that contrasts with earlier AmericanĪrtists’ concept of nature as dynamic and energetic.Īccording to this view, the Luminist atmosphere,Ĭharacterized by “pure and constant light,” guides (5) that they are basically spiritual and imply a tranquil The accepted view of Luminist paintings is Painting in the United States, the Luminists areĭistinguished by their focus on atmosphere and In the history of nineteenth-century landscape
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