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English Landscape
new23/John Frederick Kensett-936664.jpg
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English_Landscape
between 1843(1843) and 1845(1845)
Oil on cardboard panel
47 x 52.1 cm (18.5 x 20.51 in)
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Lake George
new23/John Frederick Kensett-376995.jpg
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Lake_George
ca. 1870(1870)
Oil on canvas
35.6 x 61.2 cm (14.02 x 24.09 in)
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English Landscape
new23/John Frederick Kensett-558468.jpg
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English_Landscape
Date between 1843(1843) and 1845(1845)
Medium Oil on cardboard panel
Dimensions 47 X 52.1 cm (18.5 X 20.51 in)
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Lake George
new24/John Frederick Kensett-956477.jpg
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Lake_George
Date ca. 1870(1870)
Medium Oil on canvas
Dimensions 35.6 X 61.2 cm
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Lake Champlain
new24/John Frederick Kensett-474853.jpg
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Lake_Champlain
"Lake Champlain," oil on canvas, by the American painter John Frederick Kensett. Yale University Art Gallery, gift of Teresa Heinz in memory of her husband H. John Heinz III, B.A. 1960. Courtesy of Yale University, New Haven, Conn.
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John_Frederick_Kensett
American Hudson River School Painter, 1816-1872
He attended school at Cheshire Academy, and studied engraving with his immigrant father, Thomas Kensett, and later with his uncle, Alfred Dagget. He worked as engraver in the New Haven area until about 1838, after which he went to work as a bank note engraver in New York City. In 1840, along with Asher Durand and John William Casilear, Kensett traveled to Europe in order to study painting. There he met and traveled with Benjamin Champney. The two sketched and painted throughout Europe, refining their talents. During this period, Kensett developed an appreciation and affinity for 17th century Dutch landscape painting. Kensett and Champney returned to the United States in 1847. After establishing his studio and settling in New York, Kensett traveled extensively throughout the Northeast and the Colorado Rockies as well as making several trips back to Europe. Kensett is best known for his landscape of upstate New York and New England and seascapes of coastal New Jersey, Long Island and New England. He is most closely associated with the so-called "second generation" of the Hudson River School. Along with Sanford Robinson Gifford, Fitz Hugh Lane, Jasper Francis Cropsey, Martin Johnson Heade and others, the works of the "Luminists," as they came to be known, were characterized by unselfconscious, nearly invisible brushstrokes used to convey the qualities and effects of atmospheric light. It could be considered the spiritual, if not stylistic, cousin to Impressionism. Such spiritualism stemmed from Transcendentalist philosophies of sublime nature and contemplation bringing one closer to a spiritual truth.
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