Thomas Doyle: If the creek don’t rise
February 6 – May 8, 2016
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Thomas Doyle. The Culminating Point (#4 of 5), 2015


Thomas Doyle’s small-scale sculpture of a house in If the creek don’t rise tells the story that takes place in a gray zone between everyday events and calamities that can, at any time, strike a home. Doyle’s “people,” an assortment of miniature figures, carry on, oblivious to encroaching danger. Viewers, though, see it and are visually plunged into a world where an unsettlingly familiar thread of anxiety runs.


In his first solo Museum exhibition, Thomas Doyle creates a swollen riverbed that crosses the Museum’s gallery. A river that is flooding, it must be dammed, and the piled up paraphernalia from Doyle’s suburban house becomes the force that holds it back. The debris actually forms two dams and in between sits a single house and a yard. “The dams,” Doyle said, “have a purpose, while nodding to the absurdity of changing the natural world.” Then, inspired by Hudson River School artist Thomas Cole’s The Course of Empire paintings that show the growth and fall of a city in five parts, Doyle, in his sculpture Culminating Point, shows the life cycle of a suburban home from “Empty Lot” to “Under Construction” to “Perfect House” to “House Flooded,” and finally, “Empty Lot for Sale.” Doyle brings to Cole’s cycle of history the personal element of an individual home.


Doyle, who lives and works in Katonah, in New York’s Westchester County, has shown his sculptures at galleries and museums across the United States and in London, Florence, Seoul, and Beijing, among other locations.


Organized by the Hudson River Museum, Thomas Doyle: If the creek don’t rise is curated by Bartholomew Bland, the Museum’s Deputy Director.



Oh Panama! Jonas Lie Paints the Panama Canal
February 6 – May 8 2016

Jonas Lie. Central Wall, Pedro Miguel, 1913. Oil on canvas, 36 x 34 inches. West Point Museum Collection, United States Military Academy


One hundred years ago the Panama Canal linked east to west, opening for the first time in history a water passage between the Atlantic and Pacific oceans. Now the Panama Canal Expansion Project, slated for completion in 2016, will open a new water lane to more and larger ships. Celebrating today’s Panama project, Oh Panama! looks back to the determined and spirited efforts of the architects and crews who accomplished the 1914 canal that was captured in paintings by Jonas Lie from the
West Point Museum Collection, United States Military Academy. Lie’s paintings continue today to impress viewers as a sublime and beautiful document of man’s relentless quest to conquer nature and harness its riches.


    Jonas Lie. Heavenly Host, 1913.    Oil on canvas, 50 x 60 inches
    West Point Museum Collection, United States Military Academy

Norwegian-born painter Jonas Lie (1880-1940) inspired by a motion picture documentary of the construction of the canal visited the Panama Canal Zone for three months in 1913. He was enthralled by the feats of engineering required to dig the Culebra Cut, as well as the sublime visual qualities of the massive trench being carved across the Isthmus of Panama. Working tirelessly in the intense tropical heat, he produced oil sketches and drawings and took careful notes on the technical aspects of the canal construction.


Recognized by his peers as a scientist and a poet for his depictions of New York City, Lie’s canvasses were both historical documents of technological progress and dramatic interpretations of the urban environment.  The thirty known pictures he made of Panama are lively and colorful, capturing the spirit of that endeavor as well as its heroic quality and monumental scale. Lie recalled the Panama experience as a pivotal moment in his career, one from which he received national recognition for his work and also developed the aesthetic and technical strategies that influenced his landscape compositions from that point forward.


When Lie returned to New York, he exhibited twenty-eight paintings from the Panama cycle at the Knoedler Gallery; two —The Conquerors and Culebra Cut— were purchased by the Metropolitan Museum of Art and the Detroit Institute of Arts before the exhibition embarked on a national tour in 1914. The exhibition was very popular with broad interest in Lie’s paintings fueled by publicity photographs, news reports, and the release of documentary films following the canal’s progress, such as the Edison Company’s The Joining of the Two Oceans, The Panama Canal.

Organized by the Hudson River Museum and James A. Michener Art Museum, Oh Panama! Jonas Lie Paints the Panama Canal is curated by Kirsten M. Jensen, PhD, the Gerry & Marguerite Lenfest Chief Curator at the  James A. Michener Art Museum, and Bartholomew F. Bland, Deputy Director of the Hudson River Museum. A fully-illustrated catalog with essays by Jensen and Bland accompanies the exhibition, on view at the Hudson River Museum February 7 - May 8, 2016 and travels to the Michener Museum on view from July 23 to October 30, 2016.


The Pulpit Rock

Catalog at the Museum Shop