Frederic Edwin Church

Mm

... paintings like Frederic Church, which were the Cinerama canvases of their day.

They'd be big, large-scale paintings with big, um, you know, atmospheric effects or, or, or volcanoes erupting or things like that.

And so that's all really important.

Um, and I, I've been lucky enough to see a lot of these paintings.

Uh, I've, I've made sure to, I mean, I've, I've felt like half my life's been a pilgrimage to s- to, to see certain artist studios, uh, you know, R- Rembrandt's studio in, in Amsterdam and, and Sorolla's in, in Spain and, um, uh, I still want to, I still need to see Frederic Church's in, in, up in New York.

I haven't, I haven't been to that one just yet.

All right.

Uh, for the longest time, I, you know, my skies were a little bit muddy or I had to, you know, mixing certain, certain colors to where to keep them clean and, and almost now it's I don't, I don't fight it as much, um, and things just kind of go on as, as I want them to go on as opposed to fighting it sometimes.

And, and then, and when I was younger too, my dad would constantly tell me not to mix too much because you don't want, you know, sometimes you end up making mud, uh, when you overmix certain things or over, overwork things and, and to get it to a point where you can just leave it and, you know, step away to, to to where, uh, your brush strokes are, you know, clean and where you want them to be.

And, um, and I, I, I still look for answers, you know, and, and for skies, like some of my, my, uh, earliest, um, references were, you know, Frederic Church, you know, skies by Frederic Church and Moran and Bierstadt and, and the light that they try to bring in and it's not even so much trying to get the, you know, not, not copying their style, but it's kind of there's a spirit there, uh, the light, the energy that they, they've captured and that, that's what I've been probably chasing.

I'm still, still trying to chase some of that, that, those magic hour moments and, and being out.

So yeah, and I mean, there's some key artists that really defined this whole category in different parts of the world.

In America, it was Thomas Cole, Asher B. Durand, and Frederick Edwin Church.

In France, it was Claude Lorraine, Camille Carotte, and Eugene Delacroix.

in italy it was giovanni fattori silvestro lega and batista piranesi um so yeah those are just some key figures uh that really defined picturesque and landscape um among different countries uh i personally believe you know when it comes to natural beauty i think different cultures understand it differently because of where they grew up you know geographically and just their upbringing as a whole you know uh like for example like say i'm in the us and i find something beautiful someone who maybe lives near the alps is like dude i see that every day that's in my backyard you know so i think that's like the big geographical point there um

The answer is rusticators.

The tourist era, yeah, we gotta laugh here, began taking shape after artists such as Thomas Cole and Frederick Church publicized Mount Desert Island scenery.

These visitors were called rusticators because they left behind urban life to rusticate, vacationing amid rural surroundings, simple food, and modest accommodations.

You didn't give us a chance to guess.