George Inness, ‘Autumn Oaks’, ca. 1878, The Metropolitan Museum of Art
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George Inness

Autumn Oaks, ca. 1878

Oil on canvas
20 3/8 × 30 1/8 in
51.8 × 76.5 cm
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About the work
Medium
Painting
Image rights
The Metropolitan Museum of Art (Gift of George I. Seney, 1887), licensed under CC0 1.0 Universal
George Inness
American, 1825–1894
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George Inness’s fiery career of constant innovation and spiritualizing style of landscape placed him at the forefront of American modernism. Inness evolved from an early, classic Hudson River School style to a more personal style of intimate landscape art influenced by James Abbott McNeill Whistler’s formal principles of design and abstraction and by the spiritual writings of Emanuel Swedenborg. Inness’s notion of the “civilized landscape”—abandoned farms and woodlots whose stone walls and cart tracks implied narrative without human presence—became the iconic imagery for a legion of followers. After 1880, his late synthetic landscapes were purely conceptual, made in a studio practice that relied on memory of actual places but was fundamentally an embodiment in paint of the artist’s deepest feelings. With these dematerialized landscapes, attuned to the Transcendentalists, Inness pioneered an essentially conceptualist art, one that would find echoes in the works of the Abstract Expressionists and Color Field painters of the 20th century.

George Inness, ‘Autumn Oaks’, ca. 1878, The Metropolitan Museum of Art
Save
Save
View
View in room
Share
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About the work
Medium
Painting
Image rights
The Metropolitan Museum of Art (Gift of George I. Seney, 1887), licensed under CC0 1.0 Universal
George Inness
American, 1825–1894
Follow

George Inness’s fiery career of constant innovation and spiritualizing style of landscape placed him at the forefront of American modernism. Inness evolved from an early, classic Hudson River School style to a more personal style of intimate landscape art influenced by James Abbott McNeill Whistler’s formal principles of design and abstraction and by the spiritual writings of Emanuel Swedenborg. Inness’s notion of the “civilized landscape”—abandoned farms and woodlots whose stone walls and cart tracks implied narrative without human presence—became the iconic imagery for a legion of followers. After 1880, his late synthetic landscapes were purely conceptual, made in a studio practice that relied on memory of actual places but was fundamentally an embodiment in paint of the artist’s deepest feelings. With these dematerialized landscapes, attuned to the Transcendentalists, Inness pioneered an essentially conceptualist art, one that would find echoes in the works of the Abstract Expressionists and Color Field painters of the 20th century.

George Inness

Autumn Oaks, ca. 1878

Oil on canvas
20 3/8 × 30 1/8 in
51.8 × 76.5 cm
Want to sell a work by this artist? Consign with Artsy.
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