-
FINE ART
-
FURNITURE & LIGHTING
-
NEW + CUSTOM
- Featured Bespoke Articles
- Hélène de Saint Lager’s Designs…
- Amorph-Where wood comes to life
- Markus Haase: Translating Artistic...
- Trent Jansen: Design Meets Heritage
- Hoon Moreau: Sculptural Poetry
- Kam Tin: The Art of Modern Baroque Furniture
- Gregory Nangle and Outcast Studios
- Roman Plyus Designs Furniture That’s…
- Ervan Boulloud: Daring Ingenuity
- Julian Mayor: Mirror Image
-
DECORATIVE ARTS
- JEWELRY
-
INTERIORS
- Featured Projects
- East Shore, Seattle, Washington by Kylee Shintaffer Design
- Apartment in Claudio Coello, Madrid by L.A. Studio Interiorismo
- The Apthorp by 2Michaels
- Houston Mid-Century by Jamie Bush + Co.
- Sag Harbor by David Scott
- Park Avenue Aerie by William McIntosh Design
- Sculptural Modern by Kendell Wilkinson Design
- Noho Loft by Frampton Co
- Greenwich, CT by Mark Cunningham Inc
- West End Avenue by Mendelson Group
- Interior Design Books You Need to Know
- Distinctly American: Houses and Interiors by Hendricks Churchill and A Mood, A Thought, A Feeling: Interiors by Young Huh
- Robert Stilin: New Work, The Refined Home: Sheldon Harte and Inside Palm Springs
- Torrey: Private Spaces: Great American Design and Marshall Watson’s Defining Elegance
- Ashe Leandro: Architecture + Interiors, David Kleinberg: Interiors, and The Living Room from The Design Leadership Network
- Cullman & Kravis: Interiors, Nicole Hollis: Artistry of Home, and Michael S. Smith, Classic by Design
- New books by Alyssa Kapito, Rees Roberts + Partners, Gil Schafer, and Bunny Williams: Life in the Garden
- Peter Pennoyer Architects: City | Country and Jed Johnson: Opulent Restraint
- The Elegant Life by Alex Papachristidis and More is More Is More: Today’s Maximalist Interiors by Carl Dellatore
- Extraordinary Interiors by Suzanne Tucker and Destinations by Jean-Louis Deniot
- Shelf Love: The Year's Top New Design Books
-
MAGAZINE
- Featured Articles
- Northern Lights: Lighting the Scandinavian Way
- Milo Baughman: The Father of California Modern Design
- A Chandelier of Rare Provenance
- The Evergreen Allure of Gustavian Style
- Every Picture Tells a Story: Fine Art Photography
- Vive La France: Mid-Century French Design
- The Timeless Elegance of Barovier & Toso
- Paavo Tynell: The Art of Radical Simplicity
- The Magic of Mid-Century American Design
- Max Ingrand: The Power of Light and Control
- The Maverick Genius of Philip & Kelvin LaVerne
- 10 Pioneers of Modern Scandinavian Design
- The Untamed Genius of Paul Evans
- Pablo Picasso’s Enduring Legacy
- Karl Springer: Maximalist Minimalism
- See all Articles
- Clear All
William M. Hart
American, 1823 - 1894
Hudson River School landscape artist William M. Hart was born in Paisley, Scotland. He immigrated to the United States with his family in 1831; they settled in Albany, New York. The artist was apprenticed to a carriage maker, but by the time he was 18 he began to paint portraits.
Soon after 1849, Hart left Albany and traveled widely throughout the United States, painting in New York, Virginia and Michigan, where he spent three years. After a brief visit to Scotland, he returned to Albany in 1847, and in 1854 opened a studio in New York City. Later he moved to Brooklyn, where he became the first president of the Brooklyn Academy of Design in 1854. His last years were spent in Mount Vernon, New York.
Both Hart and his brother, James McDougal Hart, who worked separately, were considered leading landscape painters of the second generation of the Hudson River School. William Hart painted in the style of Asher B. Durand, one of the leading landscape artists of the period, although his work lacked Durand's monumentality.
William Hart's earlier works were painted in a detailed and meticulous manner, while his later works were more broadly conceived.
One of the founders (and later president) of the American Water Color Society, Hart also painted a number of small, dramatic seascapes of the coast of Maine, suggesting the influence of the popular German artist Andreas Achenbach of Dusseldorf.
Hart's favorite subject matter was a herd of cattle drinking at a stream. According to the style of the day, Hart blended the real and the ideal to give an atmosphere of peace and serenity. Contemporary critics spoke of his ability to be "faithful to nature" and yet convey "a poetic sentiment". His paintings were engraved over and over again for the gift books and art journals of his time.
Memberships:
American Water Color Society
Brooklyn Academy of design
National Academy of Design
Public Collections:
Albany Institute of History and Art
Metropolitan Museum of Art
National Academy of Design
New York Historical Society
Vassar College
Biography courtesy of Roughton Galleries, www.antiquesandfineart.com/roughton
Soon after 1849, Hart left Albany and traveled widely throughout the United States, painting in New York, Virginia and Michigan, where he spent three years. After a brief visit to Scotland, he returned to Albany in 1847, and in 1854 opened a studio in New York City. Later he moved to Brooklyn, where he became the first president of the Brooklyn Academy of Design in 1854. His last years were spent in Mount Vernon, New York.
Both Hart and his brother, James McDougal Hart, who worked separately, were considered leading landscape painters of the second generation of the Hudson River School. William Hart painted in the style of Asher B. Durand, one of the leading landscape artists of the period, although his work lacked Durand's monumentality.
William Hart's earlier works were painted in a detailed and meticulous manner, while his later works were more broadly conceived.
One of the founders (and later president) of the American Water Color Society, Hart also painted a number of small, dramatic seascapes of the coast of Maine, suggesting the influence of the popular German artist Andreas Achenbach of Dusseldorf.
Hart's favorite subject matter was a herd of cattle drinking at a stream. According to the style of the day, Hart blended the real and the ideal to give an atmosphere of peace and serenity. Contemporary critics spoke of his ability to be "faithful to nature" and yet convey "a poetic sentiment". His paintings were engraved over and over again for the gift books and art journals of his time.
Memberships:
American Water Color Society
Brooklyn Academy of design
National Academy of Design
Public Collections:
Albany Institute of History and Art
Metropolitan Museum of Art
National Academy of Design
New York Historical Society
Vassar College
Biography courtesy of Roughton Galleries, www.antiquesandfineart.com/roughton
William Hart was one of the most esteemed painters of the Hudson River School's second generation of artists. His paintings, especially his river landscapes, were so popular that they were often reproduced as engravings. Hart was the older brother of James MacDougal Hart and Julie Hart Beers, who became successful landscape painters under his tutelage. The family emigrated to America from Scotland in 1831 and settled in Albany, New York. William quickly established his reputation as an artist known for his lush, pastoral landscapes and an art instructor whose students included Homer Dodge Martin and Lemuel Maynard Wiles. He served as a member of the council of the National Academy of Design, was elected the first president of the Brooklyn Academy of Design, and helped to found the American Watercolor Society. Hart's work can now be found in the White House, the Metropolitan Museum of Art, the Smithsonian American Art Museum, the Brooklyn Museum of Art, and the Museum of Fine Arts, Boston.
Biography courtesy of Questroyal Fine Art, LLC, www.antiquesandfineart.com/questroyal
Biography courtesy of Questroyal Fine Art, LLC, www.antiquesandfineart.com/questroyal