{"id":1423,"date":"2021-08-05T17:35:07","date_gmt":"2021-08-05T10:35:07","guid":{"rendered":"https:\/\/vygallery.com\/?p=1423"},"modified":"2021-08-05T17:36:01","modified_gmt":"2021-08-05T10:36:01","slug":"why-the-hazy-luminous-landscapes-of-tonalism-resonate-today","status":"publish","type":"post","link":"https:\/\/vygallery.com\/en\/why-the-hazy-luminous-landscapes-of-tonalism-resonate-today\/","title":{"rendered":"Why the Hazy, Luminous Landscapes of Tonalism Resonate Today?"},"content":{"rendered":"

In one scene in the 2020 Netflix blockbuster\u00a0I\u2019m Thinking of Ending Things<\/em>, the main character, Lucy, pulls out her iPhone and scrolls through images of gauzy, moonlit landscape paintings, mottled just enough to teeter on the edge of abstraction. They\u2019re moody, enveloping, and intimate. They also give a seductive introduction to<\/p>\n

Tonalism, a somewhat overlooked precursor to abstraction that emerged in the aftermath of the American Civil War.<\/div>\n
\n

\"ch\u1ee7<\/p>\n

Ralph Albert Blakelock,\u00a0Moonlight, ca. 1885\u201389. Courtesy of the Brooklyn Museum.<\/em><\/p>\n

While\u00a0I\u2019m Thinking of Ending Things\u00a0<\/em>only grazes these paintings, it does hint at Tonalism\u2019s essence: the subtle abstraction of landscape to express the mind\u2019s inner workings, offer space for reflection, and serve up an escape from reality. It also draws a provocative line between Tonalism\u2019s 19th-century origins and our own contemporary moment\u2014one full of frenzied minds looking for salves.<\/p>\n

\u201cThere\u2019s something about [Tonalist work] that\u2019s soothing and takes you away from the frakas. In the case of the Tonalists themselves, that was the post\u2013Civil War environment of reconstruction and industrialization,\u201d explained Karen Quinn, curator of the recent exhibition \u201c<\/span>Tonalism: Pathway from the Hudson River School to Modern Art<\/span>\u201d at the New York State Museum. \u201cIt\u2019s a response that moves inward\u2014a subjective response\u2014that really suited its time period and ironically suits our time right now, too.\u201d<\/span><\/p>\n

\"\"<\/p>\n

Nocturne in Black and Gold, the Falling Rocket, 1875<\/em>
\nJames Abbott McNeill Whistler \u00a9 Detroit Institute of Arts, Michigan<\/em><\/p>\n

Quinn is one of a growing group of curators and historians reconsidering Tonalism to expand its definition and affirm its influence. Once something of a black sheep to its more chromatically vibrant peer\u00a0 Impressionism, the movement hasn\u2019t received the same scholarly attention as many of art history\u2019s \u201cisms\u201d\u2014and makes even fewer Hollywood cameos.<\/p>\n

Tonalism first surfaced in the heady aftermath of the American Civil War and matured during a period of meteoric transformation in the United States\u2014one that encompassed mass industrialization, urbanization, and immigration. Lasting from around 1880 to 1915, it neatly straddled the turn of the century and, paradoxically, both sparked progress and resisted it.<\/p>\n

As historian Joseph C. Murphy has\u00a0written, \u201cTonalism was a typically American enterprise, at once conservative and experimental: its craftsmanship was the last stand of American academism, while its subjectivity and abstraction anticipated postimpressionism.\u201d<\/p>\n

\"T\u1eeb<\/p>\n

Autumn Encampment, Late 19th century
\nRalph Albert Blakelock \u00a9 Questroyal Fine Art<\/em><\/p>\n

Or, as Valence put it in\u00a0Nocturne, \u201cFrom the twilight of one century to the dawn of another, the night unfolding on the canvas acted as a transitional space.\u201d Tonalism wasn\u2019t a movement in the traditional sense\u2014its artists didn\u2019t rally around a manifesto or even consistently label their work with an overarching term (the word \u201cTonalism\u201d was only popularized after many of its progenitors were in the ground).<\/p>\n

\"\"<\/p>\n

Sunrise, 1887<\/em>
\nGeorge Inness \u00a9 Metropolitan Museum of Art, New York<\/em><\/p>\n

Tonalist artists took cues from a range of transatlantic styles whose commitment to realism was slackening. On trips to Europe, the loose brushwork of\u00a0Barbizon painters and the mystical undertones of French Symbolism appealed to American artists. But despite being rooted in transcendental yearnings, the style was also deeply connected to its social and political context. While its calming, meditative natural scenes certainly offered an antidote to the trauma of Civil War, they also embodied nostalgia for a bygone world: the formerly \u201cundiscovered\u201d frontier, now overtaken by industry and smog-glutted cities. A flood of hazy, luminous landscapes painted from memory resulted. Generally, they\u2019re veiled in the soft, slippery glow of dawn or dusk and rendered in muted tones: silvery grays, velvety greens, blues, purples, and ambers. Similar colors were situated alongside each other, creating an almost vibratory effect (the term \u201ctonal\u201d as applied to fine art has its roots in the vocabulary of music). Sometimes the scenes are overwhelmingly dark, punctuated by a single, very small source of light\u2014often the moon.<\/p>\n

\"\"<\/p>\n

Nocturne, ca. 1870-77<\/em>
\nJames Abbott McNeill Whistler \u00a9 “This Art is Your Art” Competition: The White House Historical Association, Artsy, and the Robert Rauschenberg Foundation<\/em><\/p>\n

The moody, monochromatic auras that shrouded these canvases helped guide artists\u2014and their viewers\u2014away from the tangible world into an intangible space of emotion and reflection. \u201cThe arrangement of colors must be kept in harmony because it must reproduce not merely the facts of the landscape\u2026but rather the effect of the scene upon the painter\u2019s feelings, the emotion it evokes,\u201d Innes explained. At the time, this emphasis on subjectivity and emotion was innovative, and it went on to provide essential trellising for the growth of abstraction.<\/p>\n

But despite being rooted in transcendental yearnings, the style was also deeply connected to its social and political context. While its calming, meditative natural scenes certainly offered an antidote to the trauma of Civil War, they also embodied nostalgia for a bygone world: the formerly \u201cundiscovered\u201d frontier, now overtaken by industry and smog-glutted cities.<\/p>\n

\"\"<\/p>\n

Passing Trams, 1931<\/em>
\nClarice BECKETT \u00a9 Art Gallery of South Australia<\/em><\/p>\n

The popularity of Tonalist work reached its peak by 1900, pointing to a widespread longing for untouched landscapes. On one hand, this connected to both the rise of conservation efforts and resistance to increasingly unhealthy, crowded living conditions in urban centers. On another, as Valence points out, it bolstered the tendency to ignore\u2014even erase, as she argues\u2014the genocide of America\u2019s Indigenous population. Some Tonalist painters, like Blakelock, whitewashed this reality by lacing moonlit scenes with Indigenous figures shown at peace and at rest. Today, these pictures can read as an uncomfortable rewriting of history that allowed the predominantly white, turn-of-the-century Tonalist viewership to \u201cheal\u201d without facing the harm they\u2019d caused.<\/p>\n

\"\"<\/p>\n

Colour Scheme for the Dining-Room of Aubrey House, c. 1873<\/em>
\nJames McNeill Whistler \u00a9 WikiArt<\/em><\/p>\n

As numerous scholars have pointed out, Tonalism is rife with contradictory motivations and meanings\u2014which isn\u2019t surprising, given its emergence from a society grappling with an identity crisis stoked by war and rapid industrialization. By the time the 1913 Armory Show hit New York, Tonalism had fallen out of vogue in favor of more vibrant, less contemplative, and arguably more straightforward styles like Impressionism. The mood in America had become brighter and less hazy\u2014and so did its artistic preferences. \u201cAs the United States entered World War I with a certain optimism,\u201d Valence writes, \u201cthe American public\u2019s fascination with the nostalgic visions conveyed by the nocturnes seemed to wane.\u201d As Cleveland put it, \u201cTonalist canvases became increasingly lumped in with the \u2018dark pictures\u2019 of the art trade.\u201d<\/p>\n

While Tonalism\u2019s cloudy surfaces and somewhat enigmatic connotations may have propelled it out of favor in the early 1900s, it\u2019s precisely these characteristics that appeal to scholars and viewers today. An art that can feel inscrutable, on one hand, is also ripe for investigation, analysis, and consideration. After all, at their core, Tonalism\u2019s hazy, enveloping scenes were fueled by a desire to calm the turbulent recesses of the mind and\u2014in the process\u2014open it to deep contemplation.<\/p>\n

Source: Artsy<\/a><\/span><\/strong><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

In one scene in the 2020 Netflix blockbuster\u00a0I\u2019m Thinking of Ending Things, the main character, Lucy, pulls out her iPhone and scrolls through images of gauzy, moonlit landscape paintings, mottled just enough to teeter on the edge of abstraction. They\u2019re moody, enveloping, and intimate. They also give a seductive introduction to Tonalism, a somewhat overlooked<\/p>\n","protected":false},"author":1,"featured_media":765,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[44],"tags":[],"yoast_head":"\nWhy the Hazy, Luminous Landscapes of Tonalism Resonate Today? - VY GALLERY<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/vygallery.com\/en\/why-the-hazy-luminous-landscapes-of-tonalism-resonate-today\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Why the Hazy, Luminous Landscapes of Tonalism Resonate Today? - VY GALLERY\" \/>\n<meta property=\"og:description\" content=\"In one scene in the 2020 Netflix blockbuster\u00a0I\u2019m Thinking of Ending Things, the main character, Lucy, pulls out her iPhone and scrolls through images of gauzy, moonlit landscape paintings, mottled just enough to teeter on the edge of abstraction. They\u2019re moody, enveloping, and intimate. 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