American Landscapes, Patriotism and Traditional Design

Study of Gneiss Rock, Glenfinlas by John Ruskin (1853)

On June 10^th, Dr. David Schuyler delivered a talk at the Institute of Classical Architecture & Classical America in New York City on the “Sanctified Landscape” in the Hudson River Valley. The landscape of that particular region has preserved the iconography of Colonial America as a culturally viable symbol of its continued identity.

The untouched expanses of American soil represent the sublime beauty of Colonial America and the virtues of the contemporaneous society. The artists’ visuals from the 18th and 19^th Century landscape conveyed the deeply moving and sentimental aspects of environment in depicting the picturesque and the stunning beauty of the terrain. Although the talk did not focus on Classical design in America per say, Paul Gunther, the President of ICA & CA, introduced the conversation by defining the landscape study as “not quite Classical,” but sharing with the tradition of excellence and innovation that is characteristic or attribute of the Classical design.

Dr. Schuyler examined a combination of Washington Irving and Andrew Jackson Downings’ observations and thoughts, concluding that common historic narrative and folklore were established as specific to the location of the Hudson River Valley experience, a religious experience. The lecture title of “Sanctified Landscape” framed the talk with a religious reverence, awareness and a magical aura for the atmosphere of the Hudson River Valley. Writers and artists constructed ideas and associations of virginity to the Earth (a Classically derived motif) that made the scenes spiritual and carry religious importance. Ultimately, by formulating majestic scenery, no different from imposing constructed objects (i.e. idols or houses of worship), the depiction of vast landscapes showed a certain sense of devotion and holy importance.

Although an American phenomenon, Dr. Schuyler referenced this period as similar to the European Grand Tour, but Americanized. The pilgrims or participants would experience nature in a similar way to how 18^th Century characters would visit Florence or Rome. A certain tradition was sought both along the Hudson River and the Arno, as all history is contextualized within the framework of environment, natural and created. Landscape preserved the history of the Revolutionary War. Individuals were conditioned to look at maps and pictures of very specific places and quickly recall the battle or campgrounds situated in that place. Rock faces were identifiable based off of wartime folklore and bodies of water that became part of mythologized culture (i.e. West Point peninsula). Consequentially, the artistic renderings of the Hudson River Valley were valuable to people of that time, as these efforts preserved recent history and today remain valuable in preserving American heritage. In many ways, the undisturbed skylines and tranquil landscape show an America that is new and not limited to preconceived notions or ideas, exactly the image that the colonies sought to achieve at inception. Independence was articulated in the expanse and liberation of open plains and wide streams. These are symbols of traditional American values and the foundation of current ethics in governance and aesthetics.

At the same time, a tradition of depicting the natural also shares a connection to the British Pre-Raphaelites and specifically individuals like John Ruskin who evaluated quality by the close relation between the actual and depicted environments. Ruskin notably condemned individuals such as J.W. Turner for their more interpretive, emotive representations of natural environments.Above is an example of Ruskin’s depiction of a rock face which shares details with Hudson Valley artists. Similar materials were used, namely pen, in recreating the landscape or natural renderings, so as to highlight the details and accurately represent light and linearity. Not only akin in stylistic similarities but also a shared purpose. Nature was meant to show the purest environments and the simplest values, human values. Much of these ideas permeated the borders separated by the Atlantic Ocean and indoctrinated the dominant philosophy.

Upon thinking how these values of honesty and integrity of image may relate to Scofield Historic Lighting, I saw an apparent parallel between Classical simplicity of design and unobscured attempt to recreate the beauty of nature. Some of what SHL does exemplifies and decorates the natural (i.e. the gold leafed Beech Leaf sconce) so as to add brilliance and decoration from the most simple, while other pieces are beautiful in their serene austerity (i.e. the Tulip Bobeche Sconce). The talk illuminated (excuse the poor pun) the importance of design influenced by Western European traditions, however, not dominated by them. The clash of cultures incubated a value that sustains- distinctly American design that carries new and fresh qualifies, laced in elegant simplicity.

See classicist.org to learn more about the ICA & CA programs.