The Art and Architectural Trust

The Heir apparent to the great J.M.W. Turner
The Art Journal, 1860.

In 1857, Church was 31 years old, at the height of his powers, eclipsing all others as,
The Michaelangelo of Landscape Painting.

'Many mid- nineteenth century Americans would have found a particular relevance in any work of art that made reference to the Garden of Eden, for the New World was, of course widely regarded by its proud citizens as a second Eden.' Dr. F. Kelly p.p. 31 & 32: Frederic Edwin Church and the National Landscape.
'In Paradise Lost, book IV, Milton gives an extended description of Eden, as seen through the eyes of Satan. Included are phrases such as "her enclosure green," "sylvan scene," a "Heaven on Earth," all of which apply to Rocky Forest Pool '57.
Milton also notes the numerous streams flowing through Eden, which gather in a lake like a "crystal mirror." This 'mirror' is shown to better effect in the preparatory oil sketch In the New England Woods' 1855-57,* Cooper Hewitt Museum. Ref: DP 1917-4-664A.

N.B. Go to, the middle-right of Rocky Forest Pool 1857 and you will notice that there is a 'region' of Light - reflected off the light green trees in the luminous evanescent distance, representing, God and, Paradise Regained.

Now look at the dark area to the middle-left (on the left-hand side of, the ghostly Main Oak) to find - indescribable darkness; representing, Satan and Paradise Lost.
'And the Light shineth in Darkness; and the Darkness comprehended it not' The Gospel according to St John Chapter I, VerseV (5). For a more detailed analysis go back to Explore the Painting
* To view go to: Introduction or Preparatory sketches

'Church's interest in English art was shown in another way. In 1852, he sent one of his works The Natural Bridge, Virginia '52 to the annual summer exhibition of the Royal Academy in London.

The Natural Bridge, Virginia '52 - in size, color and technique- is most like Rocky Forest Pool '57.

'This faithfully detailed picture of one of the New World's most celebrated wonders had amazed Church's friend Cyrus Field, who had wagered that the artist would not be able to duplicate the exact color of the rocks. When Church succeeded, Field agreed to purchase the painting.' Dr. F. Kelly, p.46: A Passion for Landscape: The Paintings of Frederic Edwin Church.

Church has painted the trees and the sky under the bridge in the same way, including the sweep of branches and the feathering of the leaves to the branches on the left and right foreground. It would be interesting to know how Rocky Forest Pool '57 came to England. Was it as a result of this exhibition?

By 1852 Church 'seems to have been receiving numerous commissions' that 'probably went directly from Church's studio to their owners.' Dr. F. Kelly, p. 148, footnote 32: Frederic Edwin Church and the National Lanscape.

Ibid. p.112. Re: Heart of the Andes 1859. The flow of water and the background scumbling and color of trees in both are similar.
See also the foreground of Distant view of the Sangay Volcano, Ecuador 1857 * for a similar treatment of the ghostly Main Oak in Rocky Forest Pool '57.
* To view go to: References

Technical Ingenuity

Rocky Forest Pool 1857 demonstrates again, Church's superior and improving technical skills especially in his use of translucent glazes and impasto (thick paint) used here in his depiction of flowing water.

'Church - like Turner - skilfully manipulates his brushstroke so that the movement of the paint itself coincides with the movement and shapes of the water and rocks being depicted.'

The rocks, the Light off the foaming water and the transparency of the clear limpid pools (Milton's,'crystal lake') show considerable development from his earlier work such as Scene on the Catskill Creek 1847 and Tequandama Falls 1854.

In painting The Natural Bridge Virginia 1852 he shows clearly his admiration for Ruskin and 'Ruskinian correctness' because for the first time he demonstrates complete mastery in painting and depicting, rock. The trees, woodland and sky of this (similar sized) picture are painted with the same techniques, colors and brushwork as those he used in Rocky Forest Pool 1857.

By 1855 with The Andes of Ecuador Church's first epic landscape 'he had perfected, unique effects of atmosphere and diffused sunlight' (using impasto for the central brook) but none of Church's paintings until now show that he completely understood or knew how to paint the flow of water convincingly. It was his greatest challenge which he finally conquered with, Rocky Forest Pool 1857 and, Niagara in 1857. Church's depiction of the flow of water and Light on the Water in Rocky Forest Pool 1857 is now perfected 'where the water washes the rock, the colour is lightish-yellowish brown, warm dry rock-grey and brownish but warm. We have never before seen it so perfectly represented' wrote, The Crayon about the water in Niagara in 1857. It is equally true of Rocky Forest Pool 1857. In 1852, The Natural Bridge Virginia 1852 was the first painting he showed publicly in Britain at the Royal Academy.

The interest in Britain for Church's work grew to the point when following the exhibition of The Heart of the Andes 1859 The Art Journal proclaimed him,

'The Heir Apparent of the great J.M.W. Turner.'