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©
Carmen Thyssen Collection
Thomas Birch

Philadelphia Winter Landscape

ca. 1830 - 1845
Oil on canvas.
62.2 x 90.2 cm
Carmen Thyssen Collection
Inv. no. (
CTB.1998.66
)
Not on display
  • Level 2 Permanent Collection
  • Level 1 Permanent Collection
  • Level 0 Carmen Thyssen Collection and Temporary exhibition rooms
  • Level -1 Temporary exhibition rooms, Conference room and EducaThyssen workshop
Level 2
Permanent Collection
1 2 3 4 5 6 7 8 9 10 11 12 14 13 15 16 17 18 22 19 20 21 23 24 25 26 27 28 29 Recommended start of the visitClassical rooms
1 14th Century. Early Italian Painting 2 15th Century. German and Spanish Painting 3 15th Century. Early Netherlandish Painting 4 15th Century. Italian Painting 5 15th and 16th Centuries. Renaissance Portraiture 6 16th Century. Villahermosa Gallery 7 16th Century. Italian Painting 8 15th and 16th Centuries. German Painting 9 15th and 16th Centuries. German Painting 10 16th Century. Netherlandish Painting 11 Tiziano, Tintoretto, Bassano and  El Greco 12 17th Century. Caravaggio and Baroque Painting 13 17th Century. Italian, French and Spanish Painting 14 17th Century. Italian, French and Spanish Painting 15 17th Century. Italian, French and Spanish Painting 16 18th Century. Italian Painting 17 18th Century. Italian Painting 18 18th Century. Italian Painting 19 Classical rooms 20 Classical rooms 21 Classical rooms 22 18th Century. Italian Painting 23 17th Century. Dutch Painting. Landscape 24 18th Century. French and English Painting 25 17th Century. Dutch Painting. Scenes of Daily Life and Interiors 26 17th Century. Dutch Painting. Landscape 27 17th Century. Dutch Painting. Portrait 28 17th Century. Dutch Painting. Landscape 29 19th Century. European Painting. Goya and Romanticism  
Level 1
Permanent Collection
30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 Postpop rooms Rodin room
30 18th and 19th Centuries. Transatlantic Relations 31 19th Century. American Landscape and Environmental Awareness 32 19th Century. American Landscape and Urban Life 33 Recovering the ligth. Restoration of Waterloo Bridge, by André Derain 34 20th Century. Expressionist Landscapes 35 20th Century. Expressionist Portraits 36 20th Century. The Language of the Body 37 20th Century. Urban unrest 38 20th Century. Flowers 39 20th Century. Pioneers of abstraction 40 20th Century. Popular flavor 41 20th Century. The Cubist Tradition I 42 20th Century. The Cubist Tradition II 43 20th Century. Abstract Utopias 44 20th Century. Dada and Surrealism 45 20th Century. Interwar Realisms 46 20th Century. American Abstraction I 48 20th Century. Post-ward American Art 49 20th Century. Post-ward European Figurative Art 50 20th Century. Informalisms 51 20th Century. Homo Ludens 52 20th Century. Pop Art 53 Postpop rooms 54 Postpop rooms 55 Postpop rooms 56 Postpop rooms Rodin Exhibition room
Level 0
Carmen Thyssen Collection and Temporary exhibition rooms
A B C D E F G H I J Hall Temporary exhibition rooms Access to Permanent Collection Entrance Access to Carmen Thyssen Collection Paseo del Prado Garden
A 17th and 18th Centuries. Old Masters B 19th Century. North American Landscape C 19th Century. French Naturalist Landscape D 19th Century. Impressionism E 19th Century. Monet and North American Impressionism F 19th Century. Gauguin and Postimpressionism G 19th and 20th Centuries. Neo Impressionism and its Wake H 20th Century. Early Avant-gardes I 20th Century. Between the Wars Painting. Cubism, Abstraction and Surrealism J 20th Century. North American Painting and Others • HALL
Level -1
Temporary exhibition rooms, Conference room and EducaThyssen workshop
Temporary exhibition rooms Conference room EducaThyssen Workshop

Thomas Birch was probably the first academic painter in America to paint winter views, compositions which were to influence George Durrie whose work was popularised through the lithographs of Currier & Ives. Thomas Doughty, also a Philadelphia artist, painted Winter Landscape, Museum of Fine Arts, Boston, in 1830 and Régis François Gignoux would later be known for his paintings of the snow-covered landscape. Among the Hudson River artists, Jasper F. Cropsey painted a number of winter scenes, often as a set of The Four Seasons; Frederic E. Church painted the winter landscape near his home, Olana; and Rémy François Mignot, trained in Holland, portrayed the winter landscape. Winter scenes, however, were a minor subject among American 19th-century painters until the American Impressionists, working near the end of the century, delighted in the effervescent effects of light upon the snow. Birch's paintings come out of the Northern European landscapes tradition in which the winter was considered "the Dutch 17th-century landscape par excellence." Birch's father owned a number of Dutch paintings, or copies, in his collection, including Jacob van Ruisdael's The Stump and Jan van Goyen's Winter Scene, which shows figures skating.

Birch's Philadelphia Winter Landscape shares with the Dutch tradition the low horizon in which the sky, against which leafless trees are silhouetted, is at least half of the composition. His figures, endowed with the subdued gaiety of Northern painting, remain an incidental, although important, part of the landscape. Birch's painting, artless in its portrayal of winter activities, is far more ingenious than it seems. Two figures, proceeded by a horse-drawn sleigh -a hallmark motif of Birch's winter scenes-lead us down a snow- covered road. A stream, transformed into a sheet of ice, emerging from the centre of the composition moves in a counter-curve to the lower right of the painting. The intersecting road and stream create an almost perfect oval which encloses a large farmhouse. In the foreground, where the road and stream cross, a figure gazes at the skaters below. One is putting on his skates, the other is gesturing along the length of the stream leading us into the landscape.

The same composition, in which road and stream intersect, was used in Sleigh Ride on a Gray Day, 1832 (Private Collection), which is Birch's earliest extant winter scene that can be firmly dated. Although in this painting the bridge is stone, the sleigh comes towards the viewer, the farmhouses are placed to the left of the road, and no skaters are portrayed, the similarities of the two canvases are far greater than the differences. In Skating, c. 1830-1840, Boston, Museum of fine Arts, which closely relates to Philadelphia Winter Landscape, the gesturing and bending skating figures are also seen.

Birch's known paintings of winter scenes are dated between the years 1832 to 1842; exhibition records for the Pennsylvania Academy of the Fine Arts and the Artists' Fund Society show that Birch exhibited winter landscapes almost every year from 1811-1815 and 1834-1844. Winter subjects then ceased until a final painting, Winter Scene, which was exhibited in 1851, the year of his death. Although a late date of 1847 has been suggested for the Carmen Thyssen-Bornemisza painting, it is more likely that it was painted in the 1830s or early 1840s.

Kenneth W. Maddox
 

19th Century19th Century. North American Painting. Hudson River SchoolPaintingOilcanvas
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Philadelphia Winter Landscape

Philadelphia Winter Landscape

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Delaunay, Sonia

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Max Beckmann, figuras del exílio. Exhibition catalogue. Hardcover. Spanish.

Max Beckmann, figuras del exílio. Exhibition catalogue. Hardcover. Spanish.

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Philadelphia Winter Landscape. Paisaje invernal en Filadelfia, c. 1830-1845
Philadelphia Winter Landscape
Thomas Birch

©

Carmen Thyssen Collection

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Philadelphia Winter Landscape. Paisaje invernal en Filadelfia, c. 1830-1845
Philadelphia Winter Landscape
Thomas Birch

©

Carmen Thyssen Collection

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