Fitz Hugh Lane
Encyclopedia
Fitz Henry Lane (December 19, 1804 – August 14, 1865) was an American
painter
and printmaker
of a style that would later be called Luminism
, for its use of pervasive light.
Fitz Henry Lane was born on December 19, 1804, in Gloucester, Massachusetts
. Lane was christened Nathaniel Rogers Lane on March 17, 1805, and would remain known as such until he was 27. It was not until March 13, 1832 that the state of Massachusetts would officially grant Lane’s own formal request (made in a letter dated December 26, 1831) to change his name from Nathaniel Rogers to Fitz Henry Lane. As with practically all aspects of Lane’s life, the subject of his name is one surrounded by much confusion—it was not until 2005 that historians discovered that they had been wrongly referring to the artist as Fitz Hugh, as opposed to his chosen Fitz Henry, and the reasons behind Lane’s decision to change his name, and for choosing the name he did, are still very unclear.
From the time of his birth, Lane would be exposed to the sea and maritime life—a factor that obviously had a great impact his later choice of subject matter. Many circumstances of his young life ensured Lane’s constant interaction with various aspects of this maritime life, including the fact that Lane’s family lived "upon the periphery of Gloucester Harbor’s working waterfront," and that his father, Jonathan Dennison Lane, was a sailmaker, and quite possibly owned and ran a sail loft. It is often speculated that Lane would most likely have pursued some sea-faring career, or become a sail-maker like his father, instead of an artist, had it not been for a life-long handicap Lane developed as a child. Although the cause cannot be known with certainty, it is thought that the ingestion of some part of the Peru-Apple—a poisonous weed also known as jimsonweed—by Lane at the age of eighteen months caused the paralysis of the legs from which Lane would never recover. Furthermore, it has been suggested by art historian James A. Craig that because he could not play games as the other children did, he was forced to find some other means of amusement, and that in such a pursuit he discovered and was able to develop his talent for drawing. To go a step further, as a result of his having a busy seaport as immediate surroundings, he was able to develop a special skill in depicting the goings-on inherent in such an environment.
It is true that Lane could still have become a sail-maker, as such an occupation entailed much time spent sitting and sewing, and that Lane already had some experience sewing from his short-lived apprenticeship in shoe-making. However, as evidenced in this quote from Lane’s nephew Edward Lane’s "Early Recollections," his interest in art held much sway in his deciding on a career: "Before he became an artist he worked for a short time making shoes, but after a while, seeing that he could draw pictures better than he could make shoes he went to Boston and took lessons in drawing and painting and became a marine artist."
Lane acquired such ‘lessons’ by way of his employment at Pendleton's Lithography
shop in Boston
, which lasted from 1832 to 1847. With the refinement and development of his artistic skills acquired during his years working as a lithographer
, Lane was able to successfully produce marine paintings of high quality, as evidenced in his being listed, officially, as a ‘marine painter’ in the Boston Almanac of 1840. Lane continued to refine his painting style, and consequently, the demand for his marine paintings increased as well.
Lane had visited Gloucester often while living in Boston, and in 1848, he returned permanently. In 1849, Lane began overseeing construction of a house/studio of his own design on Duncan’s Point—this house would remain his primary residence to the end of his life. Fitz Henry Lane continued to produce beautiful marine paintings and seascapes into his later years. He died in his home on Duncan’s Point on August 14, 1865, and is buried in Oak Grove Cemetery.
Lane may have supplemented his primary, purely experiential practices in drawing and painting with the study of instructional books on drawing, or more likely, by the study of books on the subject of ship design. Some study of the literature on the subject of ship design seems highly plausible, given that Lane would have had easy access to many such texts, and, more importantly, the most certain necessity of such a study in order for Lane to be able to produce works of such accurate detail in realistically depicting a ship as it actually appeared in one of any given number of possible circumstances it faced in traversing the sea.
At the time when Lane began his employment at Pendleton’s, it was common practice for aspiring American artists—especially those who, like Lane, could not afford a more formal education in the arts by traveling to Europe or by attending one of the prestigious American art academies, such as New York’s National Academy of Design
or Philadelphia’s Pennsylvania Academy of Fine Arts—to seek work as a lithographer, this being the next logical step in their pursuit of a career in the arts. As for why such employment was beneficial to the budding artist, art historian James A. Craig, in his book Fitz H. Lane: An Artist's Voyage through Nineteenth-Century America, the most comprehensive account of Lane's life and career, offers this illuminating description of the career evolution of the typical lithographer:
Working in the lithography shop, Lane would have been taught the stylistic techniques for producing artistic compositions from the practiced seniors among his fellow employees. As noted above, because Pendleton specifically sought painters to work in his shop, Lane would most likely have received the benefit of working under and with some of the most skilled aspiring and established marine and landscape painters of his day. The English maritime painter Robert Salmon
, who, historians have discovered, came to work at Pendleton’s at a period coinciding with Lane’s employment therein, is regarded as having had a large impact, stylistically, on Lane’s early works.
Beginning in the early 1840s Lane would declare himself publicly to be a marine painter while simultaneously continuing his career as a lithographer. He quickly attained an eager and enthusiastic patronage from several of the leading merchants and mariners in Boston, New York
, and his native Gloucester. Lane’s career would ultimately find him painting harbor and ship portraits, along with the occasional purely pastoral scene, up and down the eastern seaboard of the United States, from as far north as the Penobscot Bay
/Mount Desert Island region of Maine
, to as far south as San Juan, Puerto Rico
.
Perhaps most characteristic element of Lane’s paintings is the incredible amount of attention paid to detail—probably due in part to his lithographic training, as the specific style of lithography that was popular at the time of his training was characterized by the goal of verisimilitude.
In terms of Lane’s influences and relations to the artistic tradition of Luminism
, Barbara Novak, in her book "American Painting in the Nineteenth Century", relates Lane’s later works to Ralph Waldo Emerson
’s Transcendentalism
(which she relates directly to the emergence of Luminism), claiming that "[Lane] was the most ‘transparent eyeball", and that this was evidenced by Lane’s balancing of what Novak describes as the "contributions of the primitive and the graphic traditions to his art", the primitive being what he learned on his own by first observing and interacting with the surrounding environment he sought to depict, and the graphic being those skills Lane acquired through working as a lithographer. This balance does indeed seem to support the connection of Lane’s works with Luminism, as one definition of luminist art is that "characterized by a heightened perception of reality carefully organized and controlled by principles of design. As one of the styles of landscape painting to emerge in the nineteenth century, luminism embraced the contemporary preoccupation with nature as a manifestation of God’s grand plan. It was luminism more than any other of the schools that succeeded in imbuing an objective study of nature with a depth of feeling. This was accomplished through a genuine love and understanding of the elements of nature—discernible in the intimate arrangement of leaves on a bough—and their arrangement to reveal the poetry inherent in a given scene."
Other findings have shed new light onto not only Lane’s artistic process but have also revealed him to have been a staunch social reformer, particularly within the American temperance movement
. As well, the long-held suspicion that Lane was a transcendentalist has been confirmed, and it has been uncovered that he was also a Spiritualist. Sensational claims that Lane was "a somewhat saddened and introspective figure … often prone to moodiness with friends", and that his existence was one of "quiet loneliness", have been proven fallacious with the full quotation of the testimony of John Trask, a patron, friend, and next door neighbor of the artist, who states that Lane "was always hard at work and had no moods in his work. Always pleasant and genial with visitors. He was unmarried having had no romance. He was always a favorite and full of fun. He liked evening parties and was fond of getting up tableaux."
Long believed to have given instruction to only one artist during his career—a local lady of limited artistic abilities named Mary Mellen—it has now been established that Lane was the instructor and mentor to several other artists, most importantly Benjamin Champney
and America’s other great 19th century marine painter, William Bradford
.
A contemporary of the Hudson River School
, he enjoyed a reputation as America’s premier painter of marine subjects during his lifetime, but fell into obscurity soon after his death with the rise of French Impressionism. Lane’s work would be rediscovered in the 1930s by the great art collector Maxim Karolik
, after which his art steadily grew in popularity among private collectors and public institutions. His work can now command at auction prices ranging as high as three to five million dollars.
United States
The United States of America is a federal constitutional republic comprising fifty states and a federal district...
painter
Painting
Painting is the practice of applying paint, pigment, color or other medium to a surface . The application of the medium is commonly applied to the base with a brush but other objects can be used. In art, the term painting describes both the act and the result of the action. However, painting is...
and printmaker
Printmaking
Printmaking is the process of making artworks by printing, normally on paper. Printmaking normally covers only the process of creating prints with an element of originality, rather than just being a photographic reproduction of a painting. Except in the case of monotyping, the process is capable...
of a style that would later be called Luminism
Luminism (American art style)
Luminism is an American landscape painting style of the 1850s – 1870s, characterized by effects of light in landscapes, through using aerial perspective, and concealing visible brushstrokes...
, for its use of pervasive light.
Biography
Gloucester, Massachusetts
Gloucester is a city on Cape Ann in Essex County, Massachusetts, in the United States. It is part of Massachusetts' North Shore. The population was 28,789 at the 2010 U.S. Census...
. Lane was christened Nathaniel Rogers Lane on March 17, 1805, and would remain known as such until he was 27. It was not until March 13, 1832 that the state of Massachusetts would officially grant Lane’s own formal request (made in a letter dated December 26, 1831) to change his name from Nathaniel Rogers to Fitz Henry Lane. As with practically all aspects of Lane’s life, the subject of his name is one surrounded by much confusion—it was not until 2005 that historians discovered that they had been wrongly referring to the artist as Fitz Hugh, as opposed to his chosen Fitz Henry, and the reasons behind Lane’s decision to change his name, and for choosing the name he did, are still very unclear.
From the time of his birth, Lane would be exposed to the sea and maritime life—a factor that obviously had a great impact his later choice of subject matter. Many circumstances of his young life ensured Lane’s constant interaction with various aspects of this maritime life, including the fact that Lane’s family lived "upon the periphery of Gloucester Harbor’s working waterfront," and that his father, Jonathan Dennison Lane, was a sailmaker, and quite possibly owned and ran a sail loft. It is often speculated that Lane would most likely have pursued some sea-faring career, or become a sail-maker like his father, instead of an artist, had it not been for a life-long handicap Lane developed as a child. Although the cause cannot be known with certainty, it is thought that the ingestion of some part of the Peru-Apple—a poisonous weed also known as jimsonweed—by Lane at the age of eighteen months caused the paralysis of the legs from which Lane would never recover. Furthermore, it has been suggested by art historian James A. Craig that because he could not play games as the other children did, he was forced to find some other means of amusement, and that in such a pursuit he discovered and was able to develop his talent for drawing. To go a step further, as a result of his having a busy seaport as immediate surroundings, he was able to develop a special skill in depicting the goings-on inherent in such an environment.
It is true that Lane could still have become a sail-maker, as such an occupation entailed much time spent sitting and sewing, and that Lane already had some experience sewing from his short-lived apprenticeship in shoe-making. However, as evidenced in this quote from Lane’s nephew Edward Lane’s "Early Recollections," his interest in art held much sway in his deciding on a career: "Before he became an artist he worked for a short time making shoes, but after a while, seeing that he could draw pictures better than he could make shoes he went to Boston and took lessons in drawing and painting and became a marine artist."
Lane acquired such ‘lessons’ by way of his employment at Pendleton's Lithography
Pendleton's Lithography
Pendleton's Lithography was a lithographic print studio in 19th-century Boston, Massachusetts, established by brothers William S. Pendleton and John B. Pendleton . Though relatively short-lived, in its time the firm was prolific, printing portraits, landscape views, sheet music covers, and...
shop in Boston
Boston
Boston is the capital of and largest city in Massachusetts, and is one of the oldest cities in the United States. The largest city in New England, Boston is regarded as the unofficial "Capital of New England" for its economic and cultural impact on the entire New England region. The city proper had...
, which lasted from 1832 to 1847. With the refinement and development of his artistic skills acquired during his years working as a lithographer
Lithography
Lithography is a method for printing using a stone or a metal plate with a completely smooth surface...
, Lane was able to successfully produce marine paintings of high quality, as evidenced in his being listed, officially, as a ‘marine painter’ in the Boston Almanac of 1840. Lane continued to refine his painting style, and consequently, the demand for his marine paintings increased as well.
Lane had visited Gloucester often while living in Boston, and in 1848, he returned permanently. In 1849, Lane began overseeing construction of a house/studio of his own design on Duncan’s Point—this house would remain his primary residence to the end of his life. Fitz Henry Lane continued to produce beautiful marine paintings and seascapes into his later years. He died in his home on Duncan’s Point on August 14, 1865, and is buried in Oak Grove Cemetery.
Training and influences
However ambiguous many aspects of Lane’s life and career may remain, a few things are certain. First, Lane was, even in childhood, clearly gifted in the field of art. As was noted by J. Babson, a local Gloucester historian and contemporary in Lane’s time, Lane "showed in boyhood a talent for drawing and painting; but received no instruction in the rules till he went to Boston." In addition to confirming Lane’s early talent, this observation also indicates that Lane was largely self-taught in the field of art—more specifically drawing and paintings—previous to beginning his employment at Pendleton’s lithography firm at the age of 28. Lane’s first-known and recorded work, a watercolor titled The Burning of the Packet Ship "Boston," executed by Lane in 1830, is regarded by many art historians as evidence of Lane’s primitive grasp of the finer points of artistic composition previous to his employment at Pendleton’s.Lane may have supplemented his primary, purely experiential practices in drawing and painting with the study of instructional books on drawing, or more likely, by the study of books on the subject of ship design. Some study of the literature on the subject of ship design seems highly plausible, given that Lane would have had easy access to many such texts, and, more importantly, the most certain necessity of such a study in order for Lane to be able to produce works of such accurate detail in realistically depicting a ship as it actually appeared in one of any given number of possible circumstances it faced in traversing the sea.
At the time when Lane began his employment at Pendleton’s, it was common practice for aspiring American artists—especially those who, like Lane, could not afford a more formal education in the arts by traveling to Europe or by attending one of the prestigious American art academies, such as New York’s National Academy of Design
National Academy of Design
The National Academy Museum and School of Fine Arts, founded in New York City as the National Academy of Design – known simply as the "National Academy" – is an honorary association of American artists founded in 1825 by Samuel F. B. Morse, Asher B. Durand, Thomas Cole, Martin E...
or Philadelphia’s Pennsylvania Academy of Fine Arts—to seek work as a lithographer, this being the next logical step in their pursuit of a career in the arts. As for why such employment was beneficial to the budding artist, art historian James A. Craig, in his book Fitz H. Lane: An Artist's Voyage through Nineteenth-Century America, the most comprehensive account of Lane's life and career, offers this illuminating description of the career evolution of the typical lithographer:
"…an apprentice’s schooling presumably began with the graining of stones, the making of lithographic crayons, and the copying of the designs and pictures of others onto limestone. As his talents developed, the apprentice would find himself gradually taking on more challenging tasks, from drafting and composing images (the role of the designer) to ultimately being permitted to draw his own original compositions upon limestone (that most prestigious of ranks within the litho shop, the lithographic artist). Since the compositional techniques employed in lithography differed little from those taught in European academic drawing, and the tonal work so necessary for the process to succeed was akin to that found in painting (indeed, when his studio began in 1825 John Pendleton specifically sought out painters for employment in his establishment due to their habits of thinking in tonal terms), an apprenticeship within a lithographic workshop like Pendleton’s in Boston was roughly equivalent to that offered by fine art academies for beginning students."
Working in the lithography shop, Lane would have been taught the stylistic techniques for producing artistic compositions from the practiced seniors among his fellow employees. As noted above, because Pendleton specifically sought painters to work in his shop, Lane would most likely have received the benefit of working under and with some of the most skilled aspiring and established marine and landscape painters of his day. The English maritime painter Robert Salmon
Robert Salmon
Robert Salmon was a marine painter born in Whitehaven, Cumberland, England as Robert Salomon. Salmon was living in London by 1800 and moved to Liverpool in 1806...
, who, historians have discovered, came to work at Pendleton’s at a period coinciding with Lane’s employment therein, is regarded as having had a large impact, stylistically, on Lane’s early works.
Beginning in the early 1840s Lane would declare himself publicly to be a marine painter while simultaneously continuing his career as a lithographer. He quickly attained an eager and enthusiastic patronage from several of the leading merchants and mariners in Boston, New York
New York City
New York is the most populous city in the United States and the center of the New York Metropolitan Area, one of the most populous metropolitan areas in the world. New York exerts a significant impact upon global commerce, finance, media, art, fashion, research, technology, education, and...
, and his native Gloucester. Lane’s career would ultimately find him painting harbor and ship portraits, along with the occasional purely pastoral scene, up and down the eastern seaboard of the United States, from as far north as the Penobscot Bay
Penobscot Bay
Penobscot Bay originates from the mouth of Maine's Penobscot River. There are many islands in this bay, and on them, some of the country's most well-known summer colonies. The bay served as portal for the one time "lumber capital of the world," namely; the city of Bangor...
/Mount Desert Island region of Maine
Maine
Maine is a state in the New England region of the northeastern United States, bordered by the Atlantic Ocean to the east and south, New Hampshire to the west, and the Canadian provinces of Quebec to the northwest and New Brunswick to the northeast. Maine is both the northernmost and easternmost...
, to as far south as San Juan, Puerto Rico
San Juan, Puerto Rico
San Juan , officially Municipio de la Ciudad Capital San Juan Bautista , is the capital and most populous municipality in Puerto Rico, an unincorporated territory of the United States. As of the 2010 census, it had a population of 395,326 making it the 46th-largest city under the jurisdiction of...
.
Style
From one of his first copied lithographs, View of the Town of Gloucester, Mass (1836), to his very last works, Lane would incorporate many of the following arrangements and techniques consistently in the composition of his art works, both his lithographs and paintings:- Nautical subject matter
- Depiction of various naval craft in highly accurate detail
- An over-all extensive amount of detail
- The distinctive expanse of sky
- Pronounced attention to depicting the interplay of light and dark
- Hyper-accentuated vegetation within the immediate foreground
- An elevated "insider point of view" perspective
Perhaps most characteristic element of Lane’s paintings is the incredible amount of attention paid to detail—probably due in part to his lithographic training, as the specific style of lithography that was popular at the time of his training was characterized by the goal of verisimilitude.
In terms of Lane’s influences and relations to the artistic tradition of Luminism
Luminism
Luminism can refer to*A current in North American painting, see Luminism *A neo-impressionist style in painting, see Luminism...
, Barbara Novak, in her book "American Painting in the Nineteenth Century", relates Lane’s later works to Ralph Waldo Emerson
Ralph Waldo Emerson
Ralph Waldo Emerson was an American essayist, lecturer, and poet, who led the Transcendentalist movement of the mid-19th century...
’s Transcendentalism
Transcendentalism
Transcendentalism is a philosophical movement that developed in the 1830s and 1840s in the New England region of the United States as a protest against the general state of culture and society, and in particular, the state of intellectualism at Harvard University and the doctrine of the Unitarian...
(which she relates directly to the emergence of Luminism), claiming that "[Lane] was the most ‘transparent eyeball", and that this was evidenced by Lane’s balancing of what Novak describes as the "contributions of the primitive and the graphic traditions to his art", the primitive being what he learned on his own by first observing and interacting with the surrounding environment he sought to depict, and the graphic being those skills Lane acquired through working as a lithographer. This balance does indeed seem to support the connection of Lane’s works with Luminism, as one definition of luminist art is that "characterized by a heightened perception of reality carefully organized and controlled by principles of design. As one of the styles of landscape painting to emerge in the nineteenth century, luminism embraced the contemporary preoccupation with nature as a manifestation of God’s grand plan. It was luminism more than any other of the schools that succeeded in imbuing an objective study of nature with a depth of feeling. This was accomplished through a genuine love and understanding of the elements of nature—discernible in the intimate arrangement of leaves on a bough—and their arrangement to reveal the poetry inherent in a given scene."
Legacy
Other findings have shed new light onto not only Lane’s artistic process but have also revealed him to have been a staunch social reformer, particularly within the American temperance movement
Temperance movement
A temperance movement is a social movement urging reduced use of alcoholic beverages. Temperance movements may criticize excessive alcohol use, promote complete abstinence , or pressure the government to enact anti-alcohol legislation or complete prohibition of alcohol.-Temperance movement by...
. As well, the long-held suspicion that Lane was a transcendentalist has been confirmed, and it has been uncovered that he was also a Spiritualist. Sensational claims that Lane was "a somewhat saddened and introspective figure … often prone to moodiness with friends", and that his existence was one of "quiet loneliness", have been proven fallacious with the full quotation of the testimony of John Trask, a patron, friend, and next door neighbor of the artist, who states that Lane "was always hard at work and had no moods in his work. Always pleasant and genial with visitors. He was unmarried having had no romance. He was always a favorite and full of fun. He liked evening parties and was fond of getting up tableaux."
Long believed to have given instruction to only one artist during his career—a local lady of limited artistic abilities named Mary Mellen—it has now been established that Lane was the instructor and mentor to several other artists, most importantly Benjamin Champney
Benjamin Champney
Benjamin Champney was a painter whose name has become synonymous with White Mountain art of the 19th century. He began his training as a lithographer under celebrated marine artist Fitz Henry Lane at Pendleton's Lithography shop in Boston...
and America’s other great 19th century marine painter, William Bradford
William Bradford (painter)
William Bradford was an American romanticist painter, photographer and explorer, originally from Fairhaven, Massachusetts, near New Bedford....
.
A contemporary of the Hudson River School
Hudson River school
The Hudson River School was a mid-19th century American art movement embodied by a group of landscape painters whose aesthetic vision was influenced by romanticism...
, he enjoyed a reputation as America’s premier painter of marine subjects during his lifetime, but fell into obscurity soon after his death with the rise of French Impressionism. Lane’s work would be rediscovered in the 1930s by the great art collector Maxim Karolik
Maxim Karolik
Maxim Karolik was an opera singer by profession who was notable as an art collector and donor. Although generally unsuccessful as a singer, he married into one of Boston, Massachusetts's wealthiest families. On February 2, 1928, he married Martha Catharine Codman . He made a hobby of collecting...
, after which his art steadily grew in popularity among private collectors and public institutions. His work can now command at auction prices ranging as high as three to five million dollars.
Artworks
- The Burning of the Packet Ship "Boston," 1830, watercolor, http://www.capeannhistoricalmuseum.org/images/finearts/Lane/Lane-Burning-copy.jpg
- View of the Town of Gloucester, Mass, 1836, lithograph, http://www.oldprintshop.com/images/large/43093.jpg
- Stage Rocks and Western Shore of Gloucester Outer Harbor, 1857, oil on canvas, John Wilmerding Collection, http://www.nga.gov/feature/wilmerding/jwintro.htm
- Riverdale, 1863, Cape Ann Historical Museum Collection, http://www.capeannhistoricalmuseum.org/images/finearts/Lane/Lane-Riverdale.jpg
- Gloucester Harbor from Rocky Neck, 1844, Cape Ann Historical Museum Collection, http://www.capeannhistoricalmuseum.org/images/finearts/Lane/Lane-HarborRockyNeck.jpg
- The Western Shore with Norman's Woe, 1862, Cape Ann Historical Museum Collection, http://www.capeannhistoricalmuseum.org/images/finearts/Lane/Lane-WesternShore4.jpg
- Stage Fort Across Gloucester Harbor, 1862, The Metropolitan Museum of Art, http://www.metmuseum.org/toah/hd/hurs/hod_1978.203.htm
- Clipper Ship "SweepstakesSweepstakes (clipper)The Sweepstakes was an 1853 clipper ship in the California trade. She was known for a record passage from New York to Bombay, and for a race around the Horn with three other clippers.-Record set, New York to Bombay:...
", 1853, Museum of the City of New York Collection, http://thephoenix.com/secure/uploadedImages/The_Phoenix/Arts/Museum_And_Gallery_Reviews/insideLANE_picLaneSweepstak.jpg - Ships Passing in Rough Seas, 1856, Private Collection, http://www.doylenewyork.com/pr/american_art/04PT03/
- The Fishing Party, 1850, http://media.skyandtelescope.com/images/Rising_Moon_painting_m.jpg
- Lumber Schooners at Evening in Penobscot Bay, 1860, National Gallery of Art, Washington, DC http://www.artlex.com/ArtLex/kl/images/lumin_lane_lumber_lg.jpg
- View of Coffin's Beach, 1862, Museum of Fine Arts, Boston, http://gregcookland.com/journal/uploaded_images/picLaneViewCoffinsBeach-758814.jpg
- El fuerte y la isla Ten Pound, Gloucester, Massachusetts, 1847, Museo Thyssen-Bornemisza. 13
Exhibitions
- "American Masters from Bingham to Eakins: The John Wilmerding Collection", The National Gallery of Art, May 9-October 10, 2004
- "Works of Fitz Henry Lane", Cape Ann Historical Museum, Permanent Collection (this is also the largest collection of Lane paintings in the world) http://www.capeannhistoricalmuseum.org/fine%20art/fitz_hugh_lane.htm
- "Coming of Age: American, 1850s to 1950s". Addison Gallery of American ArtAddison Gallery of American ArtThe Addison Gallery of American Art, as a department of Phillips Academy, Andover, Massachusetts, is an academic museum dedicated to collecting American art...
, Phillips AcademyPhillips AcademyPhillips Academy is a selective, co-educational independent boarding high school for boarding and day students in grades 9–12, along with a post-graduate year...
, Andover, Massachusetts (September 9, 2006 – January 7, 2007); Dulwich Picture Gallery, London (March 14 – June 8, 2008); Meadows Museum of Art, Dallas (November 30 – February 24, 2008); Peggy Guggenheim Collection, Venice (June 27 – October 12, 2008)
Sources
- Fitz Henry Lane at the Cape Ann Museum which has many of his paintings.
- Craig, James. Fitz H. Lane: An Artist's Voyage Through Nineteenth-Century America. Charleston, SC: The History Press, 2006. ISBN 1-59629-090-0.
- Mary Foley. "Fitz Hugh Lane, Ralph Waldo Emerson, and the Gloucester LyceumGloucester LyceumThe Gloucester Lyceum of Gloucester, Massachusetts, was an association for "the improvement of its members in useful knowledge, and the advancement of popular education." It incorporated in 1831....
." American Art Journal, v.27, no.1/2, 1995/1996 - Gerdts,William H.; C. C. "'The Sea Is His Home': Clarence Cook Visits Fitz Hugh Lane." American Art Journal, Vol. 17, No. 3. (Summer, 1985), pp. 44–49.
- Howat, John K.; Sharp, Lewis I.; Salinger, Margaretta M. "American Paintings and Sculpture." Notable Acquisitions (Metropolitan Museum of Art), No. 1975/1979. (1975–1979), pp. 64–67.
- Novak, Barbara. American Painting of the Nineteenth Century. New York: Praeger Publishers, Inc., 1969.
- Sharp, Lewis I. "American Paintings and Sculpture." Notable Acquisitions (Metropolitan Museum of Art), No. 1965/1975. (1965–1975), pp. 11–19.
- Smith, Gayle L."Emerson and the Luminist Painters: A Study of Their Styles" American Quarterly, Vol. 37, No. 2. (Summer, 1985), pp. 193–215.
- Troyen, Carol. The Boston Tradition. New York: The American Federation of Arts, 1980.
- Wilmerding, John. The Genius of American Painting. New York: William Morrow & Company, Inc., 1973.
- Wilmerding, John. "Fitz Hugh Lane: Imitations and Attributions." American Art Journal, Vol. 3, No. 2. (Autumn, 1971), pp. 32–40.
- Wilmerding, John. American Light: The Luminist Movement 1850–1875. Washington DC: National Gallery of Art, 1980.
External links
- Fitz Hugh Lane on Artfact.com
- Museo Thyssen Bornemisza Biography and Works: Fitz Henry Lane