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250:, luminist artworks tend to stress the horizontal, and demonstrate the artist's close control of structure, tone, and light. The light is generally cool, hard, and non-diffuse; "soft, atmospheric, painterly light is not luminist light". Brushstrokes are concealed in such a way that the painter's personality is minimized. Luminist paintings tend not to be large so as to maintain a sense of timeless intimacy. The picture surface or plane is emphasized in a manner sometimes seen in
265:. However, the two styles are markedly different. Luminism is characterized by attention to detail and the hiding of brushstrokes, while impressionism is characterized by lack of detail and an emphasis on brushstrokes. Luminism preceded impressionism, and the artists who painted in a luminist style were in no way influenced by Impressionism.
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of luminism as an art-historical term were deeply entwined with the interests of elite collectors, prominent art dealers, influential curators, art historians, and constructions of national identity during the Cold War." Building on
Sweeney's work, Alan Wallach has called for a wholesale rethinking of "luminism" as a historical phenomenon.
295:
The artists who painted in this style did not refer to their own work as "luminism", nor did they articulate any common aesthetic philosophy outside of the guiding principles of the Hudson River School. Many art historians find the term "luminism" problematic. J. Gray
Sweeney argues that "the origins
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style of the 1850s to 1870s, characterized by effects of light in a landscape, through the use of aerial perspective and the concealment of visible brushstrokes. Luminist landscapes emphasize tranquility, and often depict calm, reflective water and a soft, hazy sky. Artists who were most central to
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65:, is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into the English Knowledge.
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366:– such as majestic skies, calm waters, rarefied light, and other representations of magnificence – have been also appreciated in contemporary American painting. Such a trend is visible in artists like
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would "reduce nature to cryptographic essentials of composition...while rarified veils of light, color, and atmosphere reflected in water offer an experience of silence", a description akin to the
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254:. These qualities are present in different amounts depending on the artist, and within a work. Novak states that luminism, of all American art, is most closely associated with
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276:, who shifted the visual concern for landscape to an interest in quietism, making pictures of mood that depict a poetic experience of nature. Furthermore, his painting
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Alan
Wallach, "Rethinking 'Luminism': Taste, Class, and Aestheticizing Tendencies in Mid-Nineteenth-Century American Landscape Painting", in Nancy Siegel ed.,
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235:. The historian John I. H. Baur established an outline of the style in the late 1940s, and he first used the term "luminism" in a 1954 article. The
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Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article.
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was introduced by mid-20th-century art historians to describe a 19th-century
American painting style that developed as an offshoot of the
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Sources of Light: Contemporary
American Luminism, Martha Alf, Roger Brown, April Gornik, Alfred Leslie, Norman Lundin, Ed Paschke
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would represent the greatness of nature and a feeling of the sublime arising from an intimate engagement with nature.
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Sweeney, J. Gray (January 1988). "A 'Very
Peculiar' Picture: Martin J. Heade's Thunderstorm over Narragansett Bay".
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Content in this edit is translated from the existing German
Knowledge article at ]; see its history for attribution.
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centered many artists now primarily associated with the Hudson River School, such as
Frederic Edwin Church.
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537:(1. paperback printing ed.). Berkeley, Calif.: University of California Press. pp. 170–173.
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Luminism has also been considered to represent a contemplative perception of nature. According to
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258:. The definitional difficulties have contributed to over-use of the term.
612:"An 'American Sublime' in Nineteenth-Century American Art and Philosophy"
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to the source of your translation. A model attribution edit summary is
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The
Cultured Canvas: New Perspectives on American Landscape Painting
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has been suggested in reference to contemporary
American luminism.
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Hudson River School Visions: The Landscapes of Sanford R. Gifford
889:(Reprinted ed.). Princeton, NJ: Princeton University Press.
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J. Gray Sweeney, "Inventing Luminism: 'Labels are the Dickens'",
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655:(Dartmouth: University of New England Press, 2011), pp. 115–147
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Barbara Novak, "On Defining Luminism", in Wilmerding, 23–29
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Expressions of Place: The Contemporary Louisiana Landscape
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can be seen in the works of several American experimental
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to this template: there are already 1,848 articles in the
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Luminism shares an emphasis on the effects of light with
856:"Sharon Lockhart and James Benning: Decelerating Cinema"
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American landscape painting style of the 1850s – 1870s
272:, this would be particularly visible in paintings by
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American Paintings in The Metropolitan Museum of Art
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915:, a fully digitized three volume exhibition catalog
503:. Washington: National Gallery of Art. p. 14.
175:. Painters with a less clear affiliation include
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535:Barnett Newman: selected writings and interviews
241:American Light: The Luminist Movement, 1825-1875
887:American Light: The Luminist Movement 1850–1875
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458:. University Press of Mississippi. p. 26.
159:the development of the luminist style include
100:accompanying your translation by providing an
49:Click for important translation instructions.
36:expand this article with text translated from
142:Lumber Schooners at Evening on Penobscot Bay
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880:Luminism article in ArtLex Art Dictionary
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825:"Artist Interview with Steven DaLuz"
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823:Gardner, Gavin T (5 April 2013).
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433:Wilmerding, 18, 108, 120-121, 134
313:Thunder Storm on Narragansett Bay
290:Thunder Storm on Narragansett Bay
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734:"Cameron, Scott (1946-) USA (7)"
668:Contemporary Art and the Sublime
569:Archives of American Art Journal
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937:Luminism (American art style)
665:Bell, Julian (January 2013).
207:. Some precursor artists are
874:General and cited references
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401:, particularly in Benning's
328:View of the Shrewsbury River
246:As defined by art historian
239:'s landmark 1980 exhibition
7:
82:will aid in categorization.
10:
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219:also worked in the style.
112:{{Translated|de|Luminism}}
57:Machine translation, like
885:Wilmerding, John (1989).
385:A distilled influence of
38:the corresponding article
642:26, no. 2 (2003), p. 93.
581:10.1086/aaa.28.4.1557614
494:Kelly, Franklin (1989).
952:Landscape art by school
237:National Gallery of Art
197:Alfred Thompson Bricher
146:National Gallery of Art
121:For more guidance, see
942:American art movements
829:Gavin Gardner Fine Art
405:(2004) and Lockhart's
332:John Frederick Kensett
274:John Frederick Kensett
189:Worthington Whittredge
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768:BWW Visual Arts World
619:liberalarts.iupui.edu
610:Guardiano, Nicholas.
497:Frederic Edwin Church
358:Contemporary luminism
217:Joseph Rusling Meeker
201:James Augustus Suydam
177:Frederic Edwin Church
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123:Knowledge:Translation
94:copyright attribution
309:Martin Johnson Heade
286:Martin Johnson Heade
193:Raymond Dabb Yelland
165:Martin Johnson Heade
947:Hudson River School
452:Kemp, J.R. (2016).
233:Hudson River School
640:Oxford Art Journal
156:landscape painting
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102:interlanguage link
957:Transcendentalism
738:america-scoop.com
557:Wilmerding, 69–92
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98:edit summary
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43:
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575:(4): 2–14.
407:Double Tide
380:neoluminism
378:. The term
252:primitivism
931:Categories
798:Artodyssey
471:2023-06-08
393:including
391:filmmakers
860:DOK.REVUE
597:191802468
413:Citations
403:Ten Skies
346:Communion
227:The term
116:talk page
68:Consider
40:in German
833:Archived
742:Archived
671:. Tate.
409:(2009).
387:luminism
364:luminism
229:luminism
152:Luminism
144:, 1863,
92:provide
839:Oct 18,
808:Oct 18,
778:Oct 18,
748:Oct 18,
718:Oct 18,
684:Oct 18,
624:Oct 18,
589:2712898
352:(2017?)
282:sublime
223:History
114:to the
96:in the
42:.
893:
709:
675:
595:
587:
541:
507:
462:
374:. and
315:, 1868
203:, and
171:, and
615:(PDF)
593:S2CID
585:JSTOR
501:(PDF)
59:DeepL
891:ISBN
841:2016
810:2016
780:2016
750:2016
720:2016
707:ISBN
686:2016
673:ISBN
626:2016
539:ISBN
505:ISBN
460:ISBN
397:and
211:and
90:must
88:You
577:doi
61:or
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