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Category: Niagara Falls

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Power of art

The symmetry of Thomas Hart Benton’s mural at the Power Vista balances the Iroquois and Europeans, who are also evenly matched in stature, equipment and clothing.
When I was a child, we used to take field trips to the Niagara Power Vista. This is a glorified observation deck over the Niagara River. (Back in the day, we actually saw one of these behemoth turbines at rest in the bottom of its deep chute, which was a terrifying experience to a child with imagination.)
Among the attractions was a mural by Thomas Hart Benton. While other Benton murals are being transferred to major museums, this one sat for years in direct sunlight, fading. In honor of the Power Vista’s 50th anniversary, it’s been restored.
Father Louis Hennepin discovering Saint Anthony Falls, Douglas Volk (1905). The difference between Benton’s and Volk’s characterization of the Native people is striking.
Thomas Hart Benton established his reputation in the 1930s with five murals that championed a new American art movement known as Regionalism. His was the most well-known voice of the Work Projects Administration (WPA) mural program. He was the first artist ever featured on the cover of Time magazine (in 1934).
The History of Water, Thomas Hart Benton, 1930. This was executed for a drugstore in Washington DC in 1930, but was removed shortly thereafter and stored in the basement. It was rediscovered in 1985. After being verified as a long-missing work by Benton, it was put up for auction at Sotheby’s and is currently with Vivian Kiechel Fine Art in Lincoln, Nebraska.
His Power Vista mural depicts the Belgian missionary Fr. Louis Hennepin blessing Niagara Falls in the winter of 1677. Those who know and love the Falls recognize the topography, as stylized as it is. What I most admire is the respect Benton showed to Hennepin’s Iroquois guides. The Iroquois were far from savages. Not significantly behind the Europeans of the time, they quickly adopted what technology they didn’t have. They were mercantile and warlike, and Benson paints them and their European counterparts as equals.


Let me know if you’re interested in painting with me in Maine in 2015 or Rochester at any time. Click here for more information on my Maine workshops! Download a brochure here.
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Romanticizing the familiar

Niagara, 1857, by Frederic Edwin Church
Yesterday, I talked about the differences between what is actually present in a landscape and what an artist paints. This morning I thought I’d look at a subject I know intimately: Niagara Falls.
Distant View of Niagara Falls, 1830, Thomas Cole
Thomas Cole, the patriarch of the Hudson River School, was interested in celebrating the untamed American wilderness. In Distant View of Niagara Falls, he presses the forest up against the cataracts. Two noble savages observe the view; other figures are distantly present on the Canadian shore.
Although this picture was taken in 1858, it probably better represents what Niagara Falls looked like in 1830 than Cole’s painting does. It’s exactly contemporary with Church’s Niagara.
By 1830, Niagara Falls had been host to white settlement and exploration for almost two centuries. The cataracts themselves were surrounded by factories, thriving towns, and the hotels, shops and other businesses serving the tourist trade. A band of Tuscarora lived in a village on Goat Island (that bit between the cataracts), selling their handicrafts to tourists.
Niagara Falls, from the American Side, 1867, by Frederic Edwin Church. This view is so accurate to reality that it is no surprise to learn that he had a sepia photograph to use as reference.
In editing the real into the sublime, Cole made the forests and the sky his primary subject. He sets the viewer so far back from the Falls that the grandeur of the scene lies in its setting, not in the cataracts themselves.
Frederic Church’s most well-known canvas of Niagara takes an entirely different approach: he strips out the inconsequential, focusing on the rim of water. This corresponds so exactly to our psychological reaction that we locals think it’s triggering memory. In fact, a hundred thousand viewers flocked to see it in the first two weeks of its debut; most of them had probably never visited Niagara, but they all felt the roar of the Falls. From a strictly visual standpoint, however, it doesn’t reflect reality any more than Cole’s painting did, because Goat Island is much closer than he represented it to be. 
The view (approximately) which Church painted in 1857.
Both Cole and Church sought to eliminate man’s touch on the landscape; both succeeded. Niagara Falls has been painted so many times, by so many first-rate artists, and they almost all share that goal. Here is Bierstadt’s painting, and here is William Morris Hunt’s. 

Let me know if you’re interested in painting with me in Maine in 2014 or Rochester at any time. Click here for more information on my Maine workshops!