Lovell Birge Harrison, ‘Woodstock Farm’, ca. 1910, Private Collection, NY

Illustrated, A History of American Tonalism, p. 504.

About Lovell Birge Harrison

Lowell Birge Harrison merged his Beaux-Arts academic training with American Transcendentalist sensibilities. After Salon successes in Paris and years working in American art colonies in France, Harrison became a beloved teacher at the Art Students League summer colony in Woodstock, New York. He combined a technical finesse with a subjective feeling for the spiritual essence of landscape that made his art and teaching (his textbook on landscape painting was a bestseller in its day) central to the Tonalist movement. Harrison championed what he called “the big vision—the power to see and to render the whole of a given scene or picture motive, rather than to paint a still-life picture of its component parts; the power to give the essential and to suppress the inessential, the power to paint the atmosphere which surrounds the objects rather than the objects themselves….” Like James Abbott McNeill Whistler and George Inness, Harrison sought to express the power of place to move the observer.

American, 1854-1929, Philadelphia, Pennsylvania, based in Woodstock, New York

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