Landscape Art & Virtual Travel: Highlights from the Collections of the HRM & Art Bridges

Through February 6, 2022

At a time when the pandemic has forced us to redefine tourism, Landscape Art & Virtual Travel celebrates artists’ striking ability to transport us to real and imaginary places.

American landscape paintings have always been intertwined with explorations of the great outdoors. In the mid-nineteenth century, many artists meditated on the sublimity of nature, whether gazing at the Hudson River’s Palisades or embarking on a far-ranging tour. Landscape painters brought distant places into the homes of their patrons, and landscape art, popularized in books and prints, inspired a growing middle class to travel to these destinations. Artists continue to bring the world to us and send us out on our own adventures to this day.

As a city-based museum overlooking the magnificent scenery of the lower Hudson River, we use our unique location as a lens to look more closely at people and their environments. Our local community’s experience in light of recent travel restrictions reminds us that journeys of the mind can be freeing. Landscape Art & Virtual Travel features loans from Art Bridges: Cynthia Daignault’s Light Atlas and David Hockney’s 15 Canvas Study of the Grand Canyon. In August 2021, another masterpiece was added to the exhibition, an untitled painting by Alvin C. Hollingsworth, on loan from Marjorie Hollingsworth. The composition features the heads of two women in a landscape indicated only by an implied horizon line and a blue moon. In the 1960s, the artist, along with Richard Mayhew, whose painting Friday is also on view, was a member of the Spiral Group, an African American artists’ collective in New York City.

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The works in the exhibition shed light on the power of art to influence ideas and actions and the process by which these precious lands might be protected. Hudson River School artist Asher B. Durand, who traveled throughout the Northeast in search of awe-inspiring scenery, painted an untitled view in the Adirondacks of New York State or as far north as Maine. Thomas Moran, whose paintings helped inspire Congress to create the first National Parks, is represented by illustrations of the Grand Canyon in volume two of Picturesque America: Or, The Land We Live In (1874). Works such as these, by male artists, prompted Cynthia Daignault’s personal and artistic journey to create her Light Atlas, which consists of 360 small paintings. Realizing that due to historical inequities in presentation, she could not name one nineteenth-century female artist explorer, she made a circle through the continental United States, stopping at regular intervals to document her experience, from roadside architecture to empty countryside. In the late 1990s, British artist David Hockney traveled to the American West to paint the Grand Canyon, leaving out himself and other visitors to let the viewer of his artwork connect with the vast unpopulated landform he depicted.

Several juxtapositions in the exhibition demonstrate the ways in which Native Americans and African Americans have historically been denied ownership and connection to American soil, specifically in New York State. Duke Site, a recent acquisition from contemporary photographer Jeremy Dennis, is from his series On This Site, which documents scenic places on Long Island that are culturally important to him and the Shinnecock Indian Nation.

Fictional landscapes can convey very real, complex, thought-provoking messages: in Map of the Frenglish Kingdom of Novum Eboracum (New York) (We All Got To Have a Place We Call Home), Umar Rashid (Frohawk Two Feathers) imagines an alternative colonial history of the Hudson Valley, with a multiracial society ruled by a Black pharaoh. The artist’s faux map of the Hudson reminds us that the underlying message of many Hudson River School landscapes, whether intentional or not, was a sense of White ownership.

Incorporating materials found in nature as her canvas, Alison Moritsugu prompts us to explore the precarious relationship between humans and the environment. The idyllic scenes rendered on a fallen tree compel us not to fall for false assurances that the wilderness we take for granted will always exist without our advocacy. Hudson River School artist Thomas Cole underscores our connection to nature in a print based on his painting Childhood, from The Voyage of Life series, which uses a rocky cave and a gentle stream as metaphors for birth and infancy.

The exhibition features several recent acquisitions to the permanent collection, including works by Seongmin Ahn, Julie Hart Beers, Eliza Pratt Greatorex, James McElhinney, Hiram Powers, Julia Santos Solomon, and Winfred Rembert.

Landscape Art & Virtual Travel and its related programs address questions such as how we define landscape and how it defines us; the power of nature to soothe and refresh us; how our presence intentionally and unintentionally changes it. We pose these questions to all: Are we conditioned by art to see and experience the actual landscape in certain ways? How does the history of a terrain change the way we feel about exploring it for ourselves? Ultimately, we believe that landscape art encourages a thoughtful consideration and an expanded appreciation of our relationship with our environment, and with each other, both of which can offer wholesome respite in these difficult times.

The exhibition is part of our ongoing partnership with Art Bridges, which facilitates the sharing of outstanding works of American art and supports partner institutions in expanding and deepening their connection with audiences. These important loans offer rich potential for dialogue with nineteenth- to twenty-first-century paintings, prints, and sculpture from the Museum’s collection.


Support provided by Art Bridges.


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The Teaching Artist-in-Residence for Landscape Art & Virtual Travel: Highlights from the Collections of the HRM & Art Bridges is Julia Santos Solomon. Learn more about the Residency Program here.

Cynthia Daignault (American, b. 1978). Light Atlas (detail), 2016. Oil on linen, 360 canvases. On loan from Art Bridges, AB.2019.2.