Rapids sopra la Hadley Falls (n. 4 del Fiume Hudson portafoglio). Artista: dopo William Guy parete (irlandese, Dublino 1792-dopo il 1864 Irlanda (attivo America). Dimensioni: Immagine: 14 1/16 x 20 3/16 in. (35,7 x 51,3 cm) foglio: 19 x 24 1/2 in. (48,3 x 62,2 cm). Incisore: John Hill (American (nato in Inghilterra), Londra 1770-1850 Clarksville, New York). Editore: Henry J. Megarey (American 1818-1845, New York). Serie/portafoglio: il fiume Hudson portafoglio. Data: 1822-23. Questo tratto di fiume si verifica tra Jessup's Landing e Haley's cade sulla upper Hudson, dove l'acqua "piange round un gomito di st
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Rapids Above Hadley's Falls (No. 4 of The Hudson River Portfolio). Artist: after William Guy Wall (Irish, Dublin 1792-after 1864 Ireland (active America)). Dimensions: Image: 14 1/16 x 20 3/16 in. (35.7 x 51.3 cm) Sheet: 19 x 24 1/2 in. (48.3 x 62.2 cm). Etcher: John Hill (American (born England), London 1770-1850 Clarksville, New York). Publisher: Henry J. Megarey (American, 1818-1845 New York). Series/Portfolio: The Hudson River Portfolio. Date: 1822-23. This stretch of river occurs between Jessup's Landing and Haley's Falls on the upper Hudson, where the water "sweeps round an elbow of stupendous rocks...sunk between two magnificent walls of perpendicular cliffs." John Agg's text goes on to tell us that "towering and massive rocks are, perhaps, the most striking images of solitude and sublimity....in combination with another feature of the grand and impressive order---an intervening current of broken and confused waters---convey[ing] to the mind a most effective idea of romantic loneliness." The print comes from the Hudson River Portfolio, a monument of American printmaking produced through the collaboration of artists, a writer, and publishers. In the summer of 1820, the Irish-born William Guy Wall toured and sketched along the Hudson, then painted a series of large watercolors. Prints of equal scale were proposed--to be issued to subscribers in sets of four--and John Rubens Smith hired to work the plates. Almost immediately, Smith was replaced by the skilled London-trained aquatint engraver John Hill, who finished the first four plates, and produced sixteen more by 1825. Over the next decade, the popularity of the Portfolio stimulated new appreciation for American landscape, and prepared the way for the Hudson River School. Museum: Metropolitan Museum of Art, New York, USA.
