Lane, Owl's Head, Penobscot Bay, Maine

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Lane, Owl's Head, Penobscot Bay, Maine발음듣기

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(piano music) Man: We're in the museum of Fine Arts in Boston looking at Fitz Henry Lane's Owl's Head Penobscot Bay, Maine.발음듣기

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This is the place that Lane spent a good deal of time and characteristic of this American artist, sometimes called a luminist.발음듣기

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We have this wonderfully quiet still moment.발음듣기

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Woman: And that's what we mean by the term luminism.발음듣기

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Landscape paintings by a number of American painters where we have a sense of calm and tranquility, views of water.발음듣기

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A quality of light that allows each element of the landscape to stand out in perfect clarity but there is an overall mood of contemplativeness and peacefulness.발음듣기

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Man: It's so typical of American art, especially American marine painting. So this is dawn.발음듣기

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We can see the peach sky in the background and the water is still calm.발음듣기

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The winds of the day have not started.발음듣기

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The ship in the background just put up its sails and is trying to catch whatever breeze is just beginning.발음듣기

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We look out on this space almost through the gaze of the fisherman we see in the lower left of the canvas.발음듣기

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Woman: This is very much a romantic landscape.발음듣기

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One that looks back to the traditions of romanticism.발음듣기

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We might think about Caspar David Freidrich and the way he uses figures.발음듣기

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Looking out to sea with their backs to us.발음듣기

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Or we might even think about John Constable in England painting his native landscape of the Store Valley with that sense of love of his native landscape.발음듣기

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I think that we have that here with Lane.발음듣기

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Man: There is a way that light is able to take the careful rendering of the veracity that all of this detail and clarity offers us.발음듣기

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Man: But still render a painting that is largely poetic.발음듣기

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And that's really one of the issues that is most central to luminism that even with this high pitched specificity there is still room for a painting that is ultimately one that is emotional, that is almost transcendental.발음듣기

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Woman: I think that sense of emotion comes through because of the lack of narrative incident.발음듣기

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We're looking at a seascape but we don't see fisherman busy with activities.발음듣기

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We don't see ships coming in and unloading cargo or other kind of narratives scenes that we might expect in a harbor.발음듣기

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Man: Light is the main protagonist, not the human occupation of the space.발음듣기

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Woman: In a way for me the main protagonist is the house that we see on that tiny little island, and that, as you said, peach-colored light, that we all know so well from looking at the water in the early morning.발음듣기

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We're really transported to this place.발음듣기

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I can almost hear the water lapping at the shore.발음듣기

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Man: This painting invites a kind of careful, quiet, contemplation.발음듣기

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Woman: It's very different from other American landscape painting that we might think of by Albert Bierstadt or Frederic Church that is really grand and operatic and sublime.발음듣기

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It says something big and those paintings are often very large and depict sublime scenes like the Rocky Mountains or Niagara Falls, but here this kind of humble, quiet scene, a kind of different strain in American landscape painting. (piano music) 발음듣기

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