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A View in Vermont - c.1874
William Louis Sonntag (1822 - 1900)
“A View in Vermont” is a marvelous example of Sonntag's panoramic views of the American wilderness. A central body of water leads the eye diagonally into a mountainous, forested, brilliantly colored landscape. The foreground is highly detailed, showing a variety of trees and shrubbery; the distant mountain peaks are suffused with light and dissolve in pale yellow and purple mists. Representative of Sonntag’s "classic" period--roughly 1855 to 1875, when he and the Hudson River School were at the height of their popularity--the painting is characteristic of the artist in its subject and composition.
Sonntag preferred the edge of the wilderness--often only a few figures inhabit his scenery. In the New Britain painting, they are a pair of fisherman who are distinguished by their long poles and brightly colored vests. Sitting on the shore, leisurely enjoying the beautiful day, they provide a sense of scale and an entrée into the scene. Nearby, the chopped-off tree stumps show evidence of human settlement, the first steps in the inevitable march of progress whereby the valley will eventually be populated.
While the topographic detail and basic format of the picture have much in common with the formulas developed by Sonntag's Hudson River School contemporaries, Sonntag was often singled out for his striking, almost hyperrealistic, use of color. His canvases are accentuated by lush greens and blues brighter and bolder than those actually found in nature: note, for example, the bright aquamarine column of smoke emanating from the log cabin on the far river bank in “View in Vermont”. Sonntag was well known for his autumn scenes, in which he harmonized the cool greens with the russets and browns of autumn and the reds of bare rock surfaces. Noting the artist’s "system of coloring and his way of producing effects," the “Cosmopolitan Art Journal” found "much that is fresh, original, and decidedly pleasing"; in contrast, critic James Jackson Jarves decried Sonntag's "wildly picturesque" views as a "absolutely disagreeable."
During the 1870s Sonntag exhibited a number of canvases depicting Vermont scenes, though it is not known exactly when he visited the state. By 1875, when Sonntag exhibited the New Britain painting at the National Academy of Design, the Hudson River landscape was considered "traditional and obsolescent"; a critic for “Scribner's Monthly” sarcastically commented: "Mr. Sonntag favors us with what might pass for a rude design for an Indian shawl, but is stated to be a view in Vermont."
William Sonntag was born in East Liberty, Pennsylvania, and raised in Cincinnati, where his parents relocated a year after his birth. Little is known about his early artistic training. He had decided to become an artist by his early teens, though his father tried to dissuade these ambitions by apprenticing him to a carpenter and, later, to an architect. Sandwiched between these two apprenticeships was a trip to Wisconsin territory. This extensive riverboat tour, which introduced the impressionable young man to the wonders of the American frontier, may have fueled, rather than extinguished, his desire to paint.
While throughout his early career Sonntag worked as a diorama scene painter and stagehand at the Western Museum, he quickly earned a reputation as Cincinnati's premier landscape painter. He first exhibited a painting in 1841 at the Society for the Promotion of Useful Knowledge in Cincinnati. About 1846 his work gained him the attention of the Reverend Elias Lyman Magoon, a Cincinnati art collector and Baptist minister who encouraged him to paint an epic allegorical series, “The Progress of Civilization” (whereabouts unknown), which likely bore more than a slight resemblance to Thomas Cole's celebrated paintings of the same theme. By the end of the decade Sonntag was exhibiting and selling paintings at both the American Art-Union in New York and the newly formed Western Art Union in Cincinnati. About 1850 he painted the panorama of “Paradise Lost and Paradise Regained” (destroyed), which was shown in New York in May 1851. In 1852 Sonntag was commissioned by the Baltimore and Ohio Railroad to paint the scenery along its Maryland route; he and his wife of less than a year, Mary Ann Cowdell, used the excursion as a delayed honeymoon.
In 1853 Sonntag took an eight-month trip to Europe with John R. Tait, his student and studio mate, and Robert S. Duncanson, a fellow Cincinnati painter. While the group visited the art centers of London and Paris, Sonntag showed a fondness for Rome and the Italian countryside. Several years later he returned to Italy with his wife and painted a number of works based on Italian scenery. After this second trip, the Sonntags relocated to New York, where Sonntag established his studio.
Sonntag became known for his scenes of America's wilderness. To find his subjects he made regular summer sketching trips to Ohio, Kentucky, the Carolinas, West Virginia, Pennsylvania, New Hampshire, Vermont, and Maine. His characteristic works are idealized landscape panoramas executed in the detailed photographic style of the Hudson River School. In the early 1870s, however, his work began to betray the influence of the Barbizon style in its increasingly limited palette, looser brushwork, smaller scale, and more intimate scope.
Sonntag first exhibited at the National Academy of Design in 1855 and was elected an associate and academician of that body in 1860 and 1861, respectively. A member of the Artist's Fund Society and the American Society of Painters in Water Colors, he also exhibited regularly at the Pennsylvania Academy of the Fine Arts and the Brooklyn Art Association. By exhibiting his works across the country--in Boston, Chicago, Saint Louis, Cleveland, San Francisco—and in Paris, Sonntag enjoyed a widespread reputation throughout his career.
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The NBMAA collection represents the major artists and movements of American art. Today it numbers about 8,274 paintings, works on paper, sculptures, and photographs, including the Sanford B.D. Low Illustration Collection, which features important works by illustrators such as Norman Rockwell, Howard Pyle, and Maxfield Parrish.
Among collection highlights are colonial and federal portraits, with examples by John Smibert, John Trumbull, John Singleton Copley, Gilbert Stuart, and the Peale family. The Hudson River School features landscapes by Thomas Cole, Asher B. Durand, Martin Johnson Heade, John Kensett, Albert Bierstadt, and Frederic Church. Still life painters range from Raphaelle Peale, Severin Roesen, William Harnett, John Peto, John Haberle, and John La Farge. American genre painting is represented by John Quidor, William Sidney Mount, and Lilly Martin Spencer. Post-Civil War examples include works by Winslow Homer, Thomas Eakins, John Singer Sargent, George de Forest Brush, and William Paxton, and 19 plasters and bronzes by Solon Borglum. American Impressionists include Mary Cassatt, Theodore Robinson, John Henry Twachtman, J. Alden Weir, Willard Metcalf, and Childe Hassam, the last represented by eleven oils. Later Impressionist paintings include those by Ernest Lawson, Frederck Frieseke, Louis Ritman, Robert Miller, and Maurice Prendergast.
Other strengths of the twentieth-century collection include: sixty works by members of the Ash Can School; significant representation by early modernists such as Alfred Maurer, Marsden Hartley, John Marin, Georgia O’Keeffe, and Max Weber; important examples by the Precisionists Charles Demuth, Charles Sheeler, Preston Dickinson, and Ralston Crawford; a broad spectrum of work by the Social Realists Ben Shahn, Romare Bearden, Jacob Lawrence, and Jack Levine; and ambitious examples of Regionalist painting by Grant Wood, John Steuart Curry, and Thomas Hart Benton, notably the latter’s celebrated five-panel mural, The Arts of Life in America (1932).
Works by the American Abstract Artist group (Stuart Davis, Ilya Bolotowsky, Esphyr Slobodkina, Balcomb Greene, and Milton Avery) give twentieth-century abstraction its place in the collection, as do later examples of Surrealism by artists Kay Sage and George Tooker; Abstract Expressionism (Lee Krasner, Giorgio Cavallon, Morris Graves, Robert Motherwell, Sam Francis, Cleve Gray), Pop and Op art (Andy Warhol, Larry Rivers, Robert Indiana, Tom Wesselman, Jim Dine), Conceptual (Christo, Sol LeWitt), and Photo-Realism (Robert Cottingham). Examples of twentieth-century sculpture include Harriet Frishmuth, Paul Manship, Isamu Noguchi, George Segal, and Stephen DeStaebler. We continue to acquire contemporary works by notable artists, in order to best represent the dynamic and evolving narrative of American art.
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Attendees enjoy the Elon LEADS in Raleigh event held at the Angus Barn Pavilion on Thursday, May 5, 2022.