Nature and the American Experience in the Nineteenth Century

    During the 19th century, the work of American painters depicted life in America primarily through images of nature. Many created these nature scenes utilizing the same media (oil painting), but the artist' view on the connection between the people and the land was displayed in different ways. Some works depict nature as stable and peaceful, while others reflect chaos and negativity, or as a symbol of other larger national issues.

    This exhibition aims to explore the differing interpretations of nature by American artists of the 19th century and to examine those interpretations in order to define what American means to the artist. For example, early paintings such as the painting Cider Making depict a strong connection between people and the land, where nature is a means of support for their daily lives. As time progresses, paintings such as Fur Traders Descending the Missouri and The Belated Party on Mansfield Mountain show a transition away from the strong ties between man and nature toward exploring and movement/uncertainty.

    Moving to the latter part of the 19th century, we begin to see alternate interpretations of nature. The painting The Veteran in a New Field connects the land with healing the scars of the Civil War, while the painting The Champion Single Sculls represents the land as something man controls and uses for recreational purposes. Even when looking at more domestic scenes such as The New Bonnet, we still see nature represented, albeit in a less evident manner.

William Sidney Mount, Cider Making, 1840-41, oil on canvas, The Metropolitan Museum of Art, Accession Number: 66.126

Cider making depicts an ideal situation for humans living in harmony with the environment. The image shows groups of individuals engaging in common activities (such as making cider). Thus, the significance of agriculture to daily life is apparent; they show the safety and security of the natural world, and they portray nature as dependable and supportive of communities. This exemplifies an early concept of America stemming from agrarianism and effort. When viewed in relation to other paintings within the exhibition, this work displays the beginnings of humans' association with the environment; simple, but suggests the relationship between people and the environment will increase in complexity over time.

George Caleb Bingham, Fur Traders Descending the Missouri, 1845, oil on canvas, The Metropolitan Museum of Art, Accession Number: 33.61

    The artwork depicts a transition from a settled agricultural life to mobility through a much larger, yet unpredictable, landmass. While the figures appear to be at ease, relative to their surroundings, they also find themselves located in the presence of a very large river and open spaces, leading to an interpretation of their being out in an uncontrolled natural context. Compared to Cider Making, this image references more about travelling and trading while illustrating the geographic expansion of America accompanied by the use of rivers as transportation routes. Thus, the painting illustrates a shift away from controlling nature toward using nature as a means of navigation, support and basis for travel.

Jerome B. Thompson, The Belated Party on Mansfield Mountain, 1858, oil on canvas, The Metropolitan Museum of Art, Accession Number: 69.182

Nature is portrayed in a much more perilous and unpredictable manner in this painting than in Bingham's work. The group of people appear as little figures in relation to the overwhelming expanse of the surrounding landscape. The overall atmosphere is one of nearing conflict, as the viewer is left with an impression of impending nighttime. The sense that this group of people have been disoriented or lost is created through the use of scale (or proportion). Bingham's figures appear to be at ease in comparison, while this painting gives an example of some of the difficulties people faced travelling through America's wilderness. By showing that early explorations of the American West were not always easy or safe, this painting provides another perspective on display.

Winslow Homer, The Veteran in a New Field, 1865, oil on canvas, The Metropolitan Museum of Art, Accession Number: 67.187.131

In this piece, the painting shows one way nature relates to all the social upheaval caused by the Civil War. The man represents a veteran who has finished fighting the Civil War, farming in a new field. The field being a symbol, is supposed to remind us of his time on the battlefield. Although it appears that he has returned to normalcy, it also indicates the relationship of rebuilding society and the death caused by the war. As a result, through the use of the earth as an object, the picture implies that there is opportunity for recovery through the assistance of land. In other words, instead of depicting danger or exploration, the painting illustrates that nature is stable. It also holds additional significance for the hope of renewal after the Civil War.

Thomas Eakins, The Champion Single Sculls (Max Schmitt in a Single Scull), 1871, oil on canvas, The Metropolitan Museum of Art, Accession Number: 34.92

This artwork portrays an alternative connection with the environment than its predecessor's pieces did. Rather than depicting a struggle, it shows a man at play using a rowboat. The body of water in this painting appears calm and stable, lacking anxiety, and represents harmony between man and nature. Nature has evolved from a site of survival or exploration to become a recreational space that allows for skill development. This reflects how American life has changed over the century by providing additional time for recreation, and reflects how nature's function has changed over time.

Eastman Johnson, The New Bonnet, 1876, oil on academy board, The Metropolitan Museum of Art, Accession Number: 25.110.11

The view in this painting displays activities at home and around the house; however, nature is included in a subtle and indirect way through the illumination of the scene via an exterior source of light. In contrast to previous works, where nature was the primary subject of each composition, here it appears more secondary than previously. The arrangement of this composition reflects a settled culture with less frequent and casual daily interaction with natural resources. This piece represents the last of the evolutionary development displayed within this exhibit, as nature remains important, but is no longer the primary focus or central theme of peoples' lives.