Thyssen-Bornemisza Museo Nacional Search Ir al contenido principal

Navegación superior (EN)

About Us Support Become Friend Shop Tickets
Español
Visit Collection Exhibitions Activities Education Search
  • Visit
  • Collection
  • Exhibitions
  • Activities
  • Education

Thyssen - Navegación superior (EN)

About Us Support Become Friend Shop Tickets
Español
©
Carmen Thyssen Collection
James Mcdougal Hart

Summer in the Catskills

ca. 1865
Oil on canvas.
33.6 x 59 cm
Carmen Thyssen Collection
Inv. no. (
CTB.1996.18
)
ROOM 31
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
James Hart was distinguished among the Hudson River School painters for faithfully and quietly rendering transcriptions of nature and avoiding the more theatrically sublime, panoramic landscapes of many of his colleagues. "I strive to reproduce in my landscapes the feeling produced by the original scenes themselves", the artist declared, "If the painting were perfect, you would feel precisely as you feel when contemplating such a scene in Nature." As one contemporary critic noted concerning Hart's paintings, "weed, vine, rock [...] and the wondrous débris of the primeval forest, are all given with the marked faithfulness to form and color so characteristic of this artist: and yet with such mastery of handling that the minutest weed holds but its relative bearing to the great mass."

A large outcropping of venerable rocks, their surface covered with lichens, occupies the left foreground of Summer in the Catskills. A flowering meadow separates the hoary boulders from the distant landscape of cultivated hills. One is reminded of the English critic, John Ruskin, who wrote that "a stone, when it is examined, will be found a mountain in miniature." "The work of the Great Spirit of nature", Ruskin felt, "is as deep and unapproachable in the lowest as in the noblest objects", and is as visible in the "mouldering stone, as in the lifting of the pillars of heaven, and settling the foundation of the earth."

The moss and lichen covered rocks in Hart's painting were more than a replication of the distant mountains. They represented the passage of time; they were America's history. The artist was finding within the microcosm of the rock, the fulfilment of the grandiose plan of a creator. As Asher B. Durand admonished the artist in his Letters to a Landscape Painter, it is by reverent attention to the forms of Nature alone that Art is able to reproduce "the profound and elevated emotions which the contemplation of the visible works of God awaken."

But the unity of God, Nature and man, as portrayed in Hart's Summer in the Catskills, would soon be disturbed. A writer for the important 19th-century art periodical, The Crayon, noted in an 1859 article, "Relation between Geology and Landscape Painting", written at the very time Charles Darwin's Origin of the Species was published, that: "Each stone bears upon its surface characters so plainly legible that he 'who runs may read.' The particolored lichens add grace and symmetry to the massive boulders, which have journeyed from the Polar seas, as they reposed upon the breast of some crystal iceberg. These the artist sees and enjoys, and when the last touch is given to his sketch and the pencil is laid aside, his thoughts revert to those old times, when fauna and flora existed supreme, since breath had not yet given life to man."

The artist is a geologist, the writer concludes, who meeting with different strata, asks "why this diversity?" To the artist, therefore, "properly belongs the study of geology, as he more thoroughly than any other can imitate what nature has produced." But an artist's painting, the writer also reminds us, is not simply an imitation of nature, it "is a representation of moral principles and sentiment." Hart's modest canvas with its meticulously-rendered, errant boulder brings to the fore the great geological debates regarding Creation and evolution in the 19th century as Americans pondered and struggled with the relationship between nature and God, God and science.

Kenneth W. Maddox

19th Century19th Century. North American Painting. LuminismPaintingOilcanvas
Listen
Download image Print page

Products and publications

César Paternosto. Towards painting as object. Exhibition Catalogue

César Paternosto. Towards painting as object. Exhibition Catalogue

9.50 €

Arte Americano en la Colección Thyssen (Exhibition catalogue. Spanish)

Arte Americano en la Colección Thyssen (Exhibition catalogue. Spanish)

39.00 € 25.00 €

Carmen Thyssen-Bornemisza Collection Catalogue  V1 (Spanish)

Carmen Thyssen-Bornemisza Collection Catalogue V1 (Spanish)

65.00 € 25.00 €

Poster Richard Estes. Nedick's, 1970

Poster Richard Estes. Nedick's, 1970

12.50 €

Visit online shop

More from the collection

Martin Johnson Heade
Martin Johnson Heade
The Marshes at Rhode Island
1866
Martin Johnson Heade
Martin Johnson Heade
Singing Beach, Manchester
1862
Martin Johnson Heade
Martin Johnson Heade
Sunrise in Nicaragua
1869
John Frederick Kensett
John Frederick Kensett
Lake George
ca. 1860
  • Private and/or didactic use
  • Commercial use
Private and/or didactic use
Summer in the Catskills. Verano en los Catskills, c. 1865
Summer in the Catskills
James Mcdougal Hart

©

Carmen Thyssen Collection

Terms of Use

The exploitation rights of the images correspond to the Fundación Coleccion Thyssen-Bornemisza, F.S.P. The Fundación authorizes the downloading of high-resolution images from its website for private use, use for educational and research purposes, and non-commercial uses.

Use for educational and research purposes is understood as the non-commercial or advertising use of images in presentations, conferences, school or university work, in classes at regulated education institutions, as well as in academic publications, with a circulation of less than 1,000 copies, provided that it is non-profit.

Non-commercial use is understood as the use of the images in a context where no profit, monetary or commercial, is generated, directly or indirectly.

Any use other than those indicated above will require the prior written authorization of the Fundación.

Any request for educational and research use or for non-commercial use (including academic publications), should be directed by email to the Museum Photo Library through the email address archivo.fotografico@museothyssen.org. This department manages the worldwide distribution of the images of the works of the Thyssen-Bornemisza National Museum and the management of their reproduction rights for those uses.

The user agrees to use the image of the website solely and exclusively for the purposes described above and in accordance with the following terms of use:

Terms of use

  • If the image is used for reproduction, the work must be reproduced in its entirety. The image may not be manipulated, deformed, modified or altered in any way. In particular, no superposition (of images or texts) on the reproduction is allowed.
  • The reproduction of a detail or part of the work may only be made with the prior written authorization of the Fundación. In this case, the credit line must include the following mention: “detail”.
  • Any total or partial reproduction of the images authorized by the Fundación must be accompanied by the following mention: Author's name. Title, Date © Coleccion Carmen Thyssen.
  • The user will send to the Museum Photo Library one (1) free copy of the edition, publication or reproduction to the following address: Archivo Fotografico, Museo Nacional Thyssen-Bornemisza, Paseo del Prado, 8 28014 Madrid, Spain.
Download image
Commercial use
Summer in the Catskills. Verano en los Catskills, c. 1865
Summer in the Catskills
James Mcdougal Hart

©

Carmen Thyssen Collection

Terms of Use

The Photo Library of the Museo Nacional Thyssen-Bornemisza offers sale and rental service of photographic material of all the works of the Carmen Thyssen Collection.

To request images or permits for commercial use in academic or research publications, that is, catalogues of other institutions, monographs and other specialised publications, you should contact the Photo Library by email at the e-mail: @email.

To request images or permits for other commercial or advertising uses (general publications, merchandising, exhibitions, audio-visual works, web pages, etc.), you should contact the Museum's Commercial Archive by email at the e-mail: @email.

The Photo Library and the Museum's Commercial Archive manage the worldwide distribution of images of the Museo Thyssen-Bornemisza works, as well as their reproduction rights. The applicable rates are calculated based on the nature and proposed use of the images, as well as the availability of the requested image.

Requests for scans or new photographs will be reviewed on a case-by-case basis. Once approved, an additional fee will apply. Re-photographing a work will require a minimum of six weeks to complete.

Download image
Thyssen-Bornemisza Museo Nacional

Navegación secundaria (EN)

  • #Thyssenmultimedia
  • Press
  • Corporate events
  • Tourism
  • Join our team
  • Newsletter
Instagram
Facebook
X
Youtube
TikTok
iVoox
LinkedIn

The Museo Nacional Thyssen-Bornemisza would like to thanks for the collaboration of:

Fundación Mutua Madrileña Master Card Comunidad de Madrid
©2025 Thyssen-Bornemisza National Museum

Menú al pie (EN)

  • Legal terms and use of images
  • Public tenders
  • Transparency site
  • Accessibility and quality
  • Sustainability & 2030 Agenda
  • Contact
Ministry of Culture España es cultura | Spain is culture. The website promoting Spanish culture Paisaje de la Luz | Paseo del Prado y Buen Retiro. Paisaje de las Artes y las Ciencias
Certificación de Conformidad con el Esquema Nacional de Seguridad. Categoría Media. RD 311/2022