White Mountain Art - Early Artists

Early Artists

In 1827, one of the first artists to sketch in the White Mountains was Thomas Cole, founder of the style of painting that would later be called the Hudson River School. Cole’s 1839 work, A View of the Pass Called the Notch of the White Mountains, is perhaps the best and finest examples of early 19th-century White Mountain art. Catherine Campbell, in her reference New Hampshire Scenery, stated, "The Notch of the White Mountains magistral work, one of the undisputed masterpieces of White Mountain painting." Two other early White Mountain painters were the Massachusetts artists Alvan Fisher (1792–1863) and Thomas Doughty (1793–1856). The works of these early artists depicted dramatic landscapes and man’s relative insignificance compared to nature. "Fisher's turbulent view also emphasizes the power of the mountains and the fragility of human enterprise." These paintings helped to promote the region at a time when the White Mountains were an unknown wilderness.

Beginning in the 1830s, the landscape painters of the Hudson River School "sought to define America and what it was to be an American. Artists of that time saw themselves as scientists making documents that expressed Christian truths and democratic ideals."

In 1851, John Frederick Kensett (1816–1872) produced a large canvas, 40 x 60 inches, of Mount Washington that has become one of the best and finest later examples of White Mountain art. Barbara J. MacAdam, the Jonathan L. Cohen Curator of America Art at the Hood Museum of Dartmouth College, has written: "John Frederick Kensett first made the scene famous through his monumental landscape, Mount Washington from the Valley of Conway ... Kensett's image became the single most effective mid-nineteenth-century advertisement for the scenic charms of the White Mountains and of North Conway in particular. Mount Washington from the Valley of Conway, purchased by the American Art Union, was made into a print by the engraver James Smillie (1833–1909) and distributed to over 13,000 Art Union subscribers throughout the country. Many artists painted copies of this same scene from the print, and Currier and Ives published a lithograph of this view in 1860. Kensett’s painting is another example of a work of art that helped to popularize the region. Catherine Campbell described the painting as "canonical among White Mountain paintings" and "the best known landscape view of the era."

Because of the proximity of Boston to the White Mountains, artists from that city became the predominate visitors and artists to capture White Mountain views. Beginning with Benjamin Champney in 1838, and continuing through the 19th century, his friends and fellow artists traveled to the mountains. In 1854 these artists, including Francis Seth Frost (1825–1902), Alfred T. Ordway (1821–1897), Samuel Lancaster Gerry (1813–1891), and Samuel W. Griggs (1827–1898), were the founding members of the Boston Art Club, which for many years became a venue to view White Mountain paintings.