Christian Faith in the Hudson River School

The Hudson River School was the first great art movement of the young United States. Unfortunately, the artwork from that movement has been misinterpreted in the modern and post-modern era. Modern interpretations of the Hudson River School focused on the arrangements of form and color in the paintings. Even worse, post-modern interpretations see the landscapes as a commentary on the exploitive nature of capitalism. What is lost in these interpretations is the role that the faith of the painters had in their work. Protestantism had a profound influence in 19^th century American culture. The painters of the Hudson River School grew up in an America which was trying to find its spiritual identity after the fading of the anti-art Puritans. They wanted to find a way to bring glory to God through art. The painters’ faith must not be separated from their work when studying the Hudson River School.

The signature subject matter of the Hudson River School was the landscape. Painters from this movement employed light to highlight the beauty of the land they were painting. The landscapes this movement produced are naturalistic and highly detailed. The viewer feels immersed in the painting as it appears to transcend the boundaries of the canvas. That transcendence was purposeful. While anybody can appreciate the beauty of the landscapes themselves, the artists ultimately sought to transcend the landscape itself and call attention to the God who created it.

            This curation is largely based on Painters in Faith by Gene Edward Veith. In this book, Veith goes into much greater detail about the role of the Christian worldview in the Hudson River School.

Thomas Cole, The Oxbow, 1836, Oil on canvas, Metropolitan Museum of Art, 08.228

            Thomas Cole is considered the founder of the Hudson River School. He pioneered the style of landscape the rest of the Hudson River School would follow. The Oxbow, one of Cole’s most famous paintings, perfectly demonstrates what makes landscapes from this movement unique. We know from Cole’s writings that he was a devout Protestant who wanted to express his faith in his work. Historically, Protestants avoided explicit symbols which were considered idolatrous and Catholic. Instead, they favored allegory. Cole’s landscapes are sublime in their lighting and attention to detail which highlight the beauty of the world. For Cole, the beauty of the landscape is an allegory of the beauty and wonder of God. God is shown to be the ultimate creator as he “signed” the landscape itself in Hebrew letters. Cole knows he is only emulating the creation act as opposed to God who created ex nihilo.

Thomas Cole, Expulsion from the Garden of Eden, 1828, Oil on canvas, Boston Museum of Fine Arts, 47.1188

            Here is a case of Cole focusing on explicitly Judeo-Christian subject matter. Expulsion from the Garden of Eden depicts Adam and Eve being forced from the garden after sinning against God. Although it is a depiction of a historical scene, it is still painted as a landscape. Once again, the landscape serves as an allegory; this time of the state of man in comparison to God. The Garden of Eden is still beautiful and perfect just as God is. On the other hand, the world which fallen man is walking into is ominous and filled with despair. The two contrast each other just as the state of man now contrasts the state of God.

Asher Durand, Kindred Spirits, 1849, Oil on canvas, Crystal Bridges Museum

            Thomas Cole was the mentor and a close friend of Asher Durand. Durand painted Kindred Spirits as a tribute to Cole and poet William Cullen Bryant. Both Cole and Bryant are represented in the painting as the people talking on the cliff. The hieratic scale is important to note. The people are depicted as small entities in a vast wilderness for reasons that go beyond naturalism. Durand’s hieratic scale emphasizes the smallness of man compared to the greatness of God and His creation.

Jasper Francis Cropsey, The Valley of Wyoming, 1865, Oil on canvas, Metropolitan Museum of Art, 66.113

            Like his fellow Hudson River School painters, Jasper Cropsey saw nature as God’s general revelation to man. What makes Cropsey unique is his focus on light over the landscape as opposed to light being just a tool to illuminate the land. While the light still illuminates in The Valley of Wyoming, it dominates two-thirds of the painting. This light symbolizes God’s providence over His creation. The light also symbolizes God’s grace as we see fallen man being allowed to cultivate the land. The shift away from the Northeastern United States makes this part of the second generation of the Hudson River School which began doing landscapes of all parts of the U.S.

Thomas Cole, The Course of Empire: Destruction, 1836, Oil on canvas, The New York Historical Society, 1858.4

            The art of the Hudson River School sought to bring glory to God through depictions of his general revelation. However, Cole also wanted to use his art to teach moral lessons like Neoclassicism in Europe. This painting is part of Cole’s The Course of Empire series. It seems odd compared to the rest in this curation as many people are depicted and the landscape is of a city instead of nature. Cole came to regret the secular nature of The Course of Empire. Still, for someone with a Christian worldview, this painting teaches that it is not the institutions of man that we are to rely on for salvation, but only the grace of God.

Robert Duncanson, View of Cincinnati, Ohio, from Covington, Kentucky, 1858, Oil on canvas, Cincinnati Historical Society

            The first major African-American artist, Robert Duncanson, was praised by abolitionists of his day. This painting contrasts the industrious landscape of Cincinnati, Ohio, with the rural landscape of Covington, Kentucky. The central figure is a black slave who is looking yearningly toward the free state of Ohio. This painting is another example of teaching through art. As a devout protestant, Duncanson saw all people as equal in God’s eyes. For Duncanson, the issue of slavery was one of great spiritual consequence. This painting is one of the earliest examples of art in America being used for social activism.