Thomas addison richards river plantation
An image of southern repose: intentions and implications of Thomas Addison Richards's River plantation
Landscape artist Thomas Addison Richards (1820-1900) completed River Plantation, circa 1855-1860, at a time when America was on the brink of the Civil War (1861-1865). As a present-day viewer, one is left with many questions regarding the artists intentions. River Plantation follows the conventions of a picturesque beautiful landscape, and the painting is filled with iconography specific to the South. Set on a verdant plantation, this image depicts slaves spending a leisurely day by the river on the property of the plantation owners, whose columned antebellum home is barely visible from the midst of the grand oaks. Richardss romantic attention to the landscape, the figures in repose, and the veiled plantation home is noteworthy, and this thesis addresses River Plantation and the artists idyllic handling of a pre-war Southern plantation. In addition, a component of this thesis proposes River Plantations original title and exhibition history.
River Plantation
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River Plantation, 1855-1860 (oil on canvas)
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Thomas Addison RichardsDuring the first half of the nineteenth century artists fanned out across the northeastern United States to find aesthetic inspiration in nature. Thomas Addison Richards was one of the few who traveled extensively in the South. Through his paintings, illustrated magazine articles, and guidebooks, Richards introduced the natural beauty and distinct characteristics of this region to a national audience. Richards was born in London, England, on December 3, 1820, to Ann and William Richards. The family immigrated to America in 1831, moving first to Hudson, New York, and then to Charleston, South Carolina. Around 1837 they settled in the small town of Penfield, Georgia, in Greene County, the original site of Mercer University, where Richards’s father, a Baptist minister, served as a charter trustee. In 1838 the young Richards left for Augusta, where for the next two years he offered lessons in painting and drawing and contributed travelogues about his rambles around Georgia to the Augusta Mirror, a local literary magazine. In 1841, sketchbook in hand, he left Augusta to travel around the South in search of picturesque scenes. The following year Richards and his brother, William Cary Richards, published Georgia Illustrated, which featured eleven steel engravings after Richards’s closely observed topographical drawings. The brothers then collaborated on the Orion (1842-44), a monthly literary journal published in Penfield and printed in New York, for which Richards supplied stories and illustrated travel essays. Late in 1844 Richards settled permanently in New York City, where he gave art lessons from his studio and began taking classes at the National Academy of Design. He subsequently became a full academician and served as the institution’s corresponding secretary from 1852 to 1892. Many of the paintings he regularly contributed to academy exhibitions were romantic landscapes of the South. Throughout the |