阿舍·布朗·杜兰德（Asher Brown Durand，1796-1886年），美国画家和雕刻家。杜兰德是托马斯·科尔的追随者，经常被称为“美国风景画之父”。”他与科尔、约翰·肯塞特、约翰·卡西里尔一起，创立了哈得逊河风景画流派。他的作品主要描绘纽约和新英格兰。

   杜兰德出生于新泽西的纽瓦克附近。1812年他拜师雕刻家彼得·马维里克，在其门下学习了五年。1817年，他成为马维里克的合作伙伴，1823年他建立了自己的工作室。他对绘画的兴趣日益增长，1836年他放弃了雕刻而将全部精力投入绘画。

早期的生活

杜兰在最终死于出生新泽西枫树镇(当时称为杰斐逊村),11个孩子的第八;他的父亲是一个手表和一个银匠。

勾勒出从1812年到1817年是一个雕刻师的学徒,后来进入了与公司的老板合作,谁让他管理公司的纽约办公室。他雕刻的独立宣言——贝瑟尔约翰特兰伯尔——在1823年,建立了杜兰的声誉作为一个国家最好的雕刻。杜兰帮助组织纽约画协会在1825年期间,这将成为国家设计学院,他将组织从1845年到1861年担任总统。

绘画事业

他的主要兴趣从版画油画大约1830的鼓励他的赞助人,Luman里德。在1837年,他陪他的朋友托马斯·科尔的草图舒伦湖远征阿迪朗达克山脉和后不久他开始集中精力景观绘画。他花了萨默斯的草图卡茨基尔阿迪朗达克山脉,怀特山脉的新汉普郡,使数以百计的图纸和石油草图,后来被纳入完成学院帮助定义哈德逊河学校.

杜兰是记得特别为他详细描绘的树木,岩石和树叶。他是一个提倡绘画直接从自然与尽可能多的现实主义。杜兰写道,“让(艺术家)小心翼翼地接受任何(自然)的礼物他直到他应当在一定程度上,已经成为与她亲密无穷……从不让他亵渎她故意离开神圣的真理。”

像其他的哈德逊河学校艺术家,杜兰也认为自然是不可言说的神的表现。他表示这种情绪和一般意见艺术在他的文章“字母景观蜡笔画”,19世纪纽约艺术期刊。杜兰写道:“[T]他真正的省份景观艺术是表示神的工作在创造可见的……”

杜兰以他1849年的绘画家族精神显示的哈德逊河学校艺术家托马斯·科尔和诗人威廉·卡伦·布莱恩特在一个卡茨基尔山景观。这是画作为向科尔在科尔在1848年去世,和科比作为礼物。这幅画,捐赠的科比的女儿茱莉亚的纽约公共图书馆在1904年,由图书馆通过出售索斯比拍卖行在2005年5月拍卖艾丽斯•沃尔顿传说中的3500万美元(销售进行密封,第一次报价拍卖,所以实际的销售价格不知道)。为3500万美元,然而,这将是一个创纪录的价格支付美国绘画。

杜兰的另一幅画是他的进步(1853),委托一个铁路。景观描绘了美国的进步,从自然状态(在左边,印第安人看),向右边,哪里有道路,电报线,一条运河,仓库、铁路和蒸汽船。

在2007年,布鲁克林博物馆展出近六十的杜兰在第一专题展览的作品致力于画家在超过35年。节目名为“知心伴侣:亚设b·杜兰和美国景观”是表现出从3月30日到7月29日,2007年。杜兰是埋葬在布鲁克林,纽约,在生材公墓.

Early life

Durand was born in and eventually died in Maplewood, New Jersey (then called Jefferson Village), the eighth of eleven children; his father was a watchmaker and a silversmith.

Durand was apprenticed to an engraver from 1812 to 1817 and later entered into a partnership with the owner of the company, who asked him to manage the company's New York office. He engravedDeclaration of Independence for John Trumbull during 1823, which established Durand's reputation as one of the country's finest engravers. Durand helped organize the New York Drawing Association during 1825, which would become the National Academy of Design; he would serve the organization as president from 1845 to 1861.

Painting career

His main interest changed from engraving to oil painting about 1830 with the encouragement of his patron, Luman Reed. During 1837, he accompanied his friend Thomas Cole on a sketching expedition to Schroon Lake in the Adirondacks Mountains and soon after he began to concentrate on landscape painting. He spent summers sketching in the Catskills, Adirondacks, and the White Mountains of New Hampshire, making hundreds of drawings and oil sketches that were later incorporated into finished academy pieces which helped to define the Hudson River School.

Durand is remembered particularly for his detailed portrayals of trees, rocks, and foliage. He was an advocate for drawing directly from nature with as much realism as possible. Durand wrote, "Let [the artist] scrupulously accept whatever [nature] presents him until he shall, in a degree, have become intimate with her infinity...never let him profane her sacredness by a willful departure from truth."

Like other Hudson River School artists, Durand also believed that nature was an ineffable manifestation of God. He expressed this sentiment and his general opinions on art in his essay "Letters on Landscape Painting" in The Crayon, a mid-19th century New York art periodical. Wrote Durand, "[T]he true province ofLandscape Art is the representation of the work of God in the visible creation..."

Durand is noted for his 1849 painting Kindred Spirits which shows fellow Hudson River School artist Thomas Cole and poet William Cullen Bryant in a CatskillsMountains landscape. This was painted as a tribute to Cole upon Cole's death during 1848, and as a gift to Bryant. The painting, donated by Bryant's daughter Julia to the New York Public Library during 1904, was sold by the library by means of Sotheby's at an auction during May 2005 to Alice Walton for a purported $35 million (the sale was performed as a sealed, first bid auction, so the actual sales price is not known). At $35 million, however, it would be a record price paid for an American painting at the time.

Another of Durand's painting is his Progress (1853), commissioned by a railroad executive. The landscape depicts America's progress, from a state of nature (on the left, where Native Americans look on), towards the right, where there are roads, telegraph wires, a canal, warehouses, railroads, and steamboats.

During 2007, the Brooklyn Museum exhibited nearly sixty of Durand's works in the first monographic exhibition devoted to the painter in more than thirty-five years. The show, entitled "Kindred Spirits: Asher B. Durand and the American Landscape," was exhibited from March 30 to July 29, 2007. Durand is interred in Brooklyn, New York, in Green-Wood Cemetery.