An illuminating account of the interplay between science, religion, and nature in nineteenth-century landscape painting Geology was in vogue in nineteenth-century America. People crowded lecture halls to hear geologists speak, and parlor mineral cabinets signaled social respectability and intellectual engagement. This was also the heyday of the Hudson River School, and many prominent landscape painters avidly studied geology. Thomas Cole, Asher Durand, Frederic Church, John F. Kensett, William Stanley Haseltine, Thomas Moran, and other artists read scientific texts, participated in geological surveys, and carried rock hammers into the field to collect fossils and mineral specimens. As they crafted their paintings, these artists drew on their geological knowledge to shape new vocabularies of landscape elements resonant with moral, spiritual, and intellectual ideas. Rebecca Bedell contributes to current debates about the relationship among art, science, and religion by exploring this phenomenon. She shows that at a time when many geologists sought to disentangle their science from religion, American artists generally sidestepped the era's more materialist science, particularly Darwinism. They favored a conservative, Christianized geology that promoted scientific study as a way to understand God. Their art was both shaped by and sought to preserve this threatened version of the science. And, through their art, they advanced consequential social developments, including westward expansion, scenic tourism, the emergence of a therapeutic culture, and the creation of a coherent and cohesive national identity. This major study of the Hudson River School offers an unprecedented account of the role of geology in nineteenth-century landscape painting. It yields fresh insights into some of the most influential works of American art and enriches our understanding of the relationship between art and nature, and between science and religion, in the nineteenth century. It will draw a broad audience of art historians, Americanists, historians of science, and readers interested in the American natural landscape.

A century and a quarter ago, the national park idea was born when Abraham Lincoln signed legislation setting aside Yosemite Valley and the Mariposa Grove of giant sequoias "for public use, resort, and recreation inalienable for all time." Over the next decade, the Yosemite park commissioners had to fight private land claims to the valley. By 1890, however, a public park system was firmly established in California when the Yosemite high country and much of what is now Sequoia and King's Canyon National Parks were set aside as federally protected, public preserves. This collection of essays and photographs, originally published as a special issue of California History, documents the creation and management of California's first three national parks. As the essays remind us, the issues of park development so hotly debated today were raised first in Yosemite nearly a century ago. Yosemite's significance in landscape art, its role in the development of western tourism, and its promotion as one of the great icons of American culture are among the other major themes discussed here.

The first book documenting Ericson's life and work. Essays by Thomas O'Sullivan with an interview of Frances McGiffert by Curator Peter Spooner.This catalogue is published on the occasion of an exhibition of the same name at the Tweed Museum of Art, University of Minnesota Duluth Aug. 28, 2005 - Jan. 15, 2006