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Radical organization of space turns this lush orchard into a social cross-section of American agriculture. Four migrant workers are on ladders picking cherries, the one at left positioned to appear behind bars. A farmer or crew chief drives a tractor whose size overwhelms the shared space. Far in the distance, two people blithely sunbathe under an umbrella. Beyond them we see a blue lake, seagulls, a large yacht, and what appears to be the <a target="_blank" rel="noopener noreferrer" data-id="G4-sqVS" href="https://www.lighthousefriends.com/light.asp?ID=306" class="jsx-3525936280 underlined">Sodus Outer Lighthouse </a>on Lake Ontario. Most disquieting of all is a laborer in the foreground looking directly at us and winking: this is where your cherries come from, and now you know how.<br /><br />At or shortly before the time of this painting, Juan Cavazos lived in migrant housing at the Long View Fruit Farm not far from Sodus. He had traveled to the US in 1985 from his home in Monterrey, Nuevo Leon, having supported himself sketching portraits in the taverns of Chihuahua and Ciudad Juarez. A teacher in the Creative Artists Migrant Program Services, Annie Salerno, noticed his abilities at a workshop and helped to support his work, along with the MollyOlga Center in Buffalo (now called <a href="https://www.locuststreetart.org/" target="_blank" rel="noopener">Locust Street Art</a>). This painting was exhibited at <a href="https://openvalley.org/items/show/1978" target="_blank" rel="noopener">a solo show</a> hosted by the Geneseo Migrant Center in 1989.
Cavazos, Juan
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Landscape painting adopts an aerial perspective upon a farm in the midst of harvesting--tomatoes, potatoes, and corn all are represented. Large formal blocks of color divide the different spaces, and farm equipment conveys a sense of energy via zig-zagging passes. An important facet of the painting is what's easily overlooked: a farmhouse, barn, and silos in the far distance; and numerous field workers picking the tomatoes. <br /><br />Juan Cavazos, from Monterrey Nuevo León, was himself a farm laborer in Western New York who often sketched portraits of his fellow workers. He was encouraged to take studio classes at MollyOlga Neighbord Art Classes, in Buffalo and eventually began showing his paintings, drawings, and sculpture. An exhibit titled "My Journey Through the Fields: The Art of a Migrant Farm Worker" was hosted by SUNY Geneseo in 1989. In his artist's statement, Cavazos wrote that "Farmworkers are a group apart in the society. What belongs to us is the courage to face and challenge hard labor. We make an immense contribution to the community, society, and the country."
Cavazos, Juan (1963- )
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Cesar Chavez (1927-1993) along with Dolores Huerta was founder of the pioneering National Farm Workers Association in 1962--later reorganized as the United Farm Workers five years later. He adapted activist tools of both labor unions and the civil rights movement: strikes, organized boycotts, marches, and public information campaigns. Against the opposition of farmers, he was successful in negotiating a union contract that included pay raises, health care, and improved safety conditions. <br /><br />In this painting we see Chavez at the center of more than forty farmworkers, some of them working in the diagonally composed field rows and other in the foreground surrounding him. The specificity of these larger faces suggests they may have been portraits of people Cavazos knew. Regardless, a farmworkers union working primarily in California is shown to speak on behalf of them everywhere.<br /><br />Juan Cavazos is an originally self-taught painter working as a migrant farmworker in Western New York. With support from the Geneseo Migrant Center and the <a href="https://www.locuststreetart.org/about" target="_blank" rel="noopener">MollyOlga Art Center</a> of Buffalo, Cavazos began showing his art in several shows beginning in the late 1980s. <em>Note: this item consists of both a smaller and larger file of his painting.</em>
Cavazos, Juan
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var str = 'Cropsey, initially trained as an architect, turned to painting in the style of Thomas Cole\'s sublime renderings of nature. He traveled in the Northeast and Europe, gaining recognition for his increasingly vivid fall hues and more restful settings. Here we see a lake whose shoreline is shared by the states of New York and New Jersey. A group of visitors appreciates the view in foreground, with forests in early autumn and pristine waters. Crossing the lake is a steamship—which as it happens had commenced operations two years earlier due to a growing tourist industry on the lake. Like other paintings of this era showing (for example) a railroad passing through natural landscapes, even small details indicate ambivalence.';
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Cropsey, Jasper Francis, 1823-1900
<a href="https://americanart.si.edu/artwork/greenwood-lake-5976" target="_blank" rel="noopener">Smithsonian American Art Museum</a>
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This small watercolor uses a technique Dove called "extraction": abstracting from some landscape only those elements necessary to render it. Here we see a few lines of ink used to trees, clouds, and a power line; watercolor and gouache then complete the forms. Horizontal layers effectively capture the distinctive long shapes and surrounding hills of New York's Finger Lakes region.<br /><br />Dove was born in Canandaigua to a wealthy family, graduating from Cornell University and expected to follow a career appropriate to that education. Instead, he worked in commercial illustration and traveled to Europe; eventually upon returning to America he became friends with photographer and gallery owner Arthur Stieglitz, who encouraged his experiments with abstraction.
Dove, Arthur, 1880-1946
<a href="https://www.metmuseum.org/art/collection/search/488539" target="_blank" rel="noopener">Metropolitan Museum of Art</a><br /><br /> Via <a href="https://commons.wikimedia.org/wiki/File:Seneca_Lake_MET_DP234290.jpg" target="_blank" rel="noopener">Wikimedia Commons</a>
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This painting, seemingly located on the upper Mohawk River, assumes a timeless, mythical quality. Bierstadt was one of several second-generation Hudson School artists associated with "luminism," a technique using aerial perspective and moisture-saturated air to create an otherworldly glow. <br /><br />Here, we see four cattle watering in a river so calm it reflects the surrounding forest. No signs of the humans who graze them are visible. At left a white steer stands apart, illuminated in a beam of sunlight. Its nearly mythical quality may reference Greek mythology and the metamorphosis of humans into animal form--whether <a href="https://en.wikipedia.org/wiki/Io_(mythology)" target="_blank" rel="noopener">Io transformed by an angry Hera</a> or <a href="https://en.wikipedia.org/wiki/Europa_(consort_of_Zeus)" target="_blank" rel="noopener">Zeus transorming himself to rape</a> Europa.
Bierstadt, Albert, 1830-1902
Portland Art Museum, Portland OR<br /><a href="https://commons.wikimedia.org/wiki/File:Mohawk_River,_New_York,_by_Albert_Bierstadt,_1864,_oil_on_canvas_-_Portland_Art_Museum_-_Portland,_Oregon_-_DSC08750.jpg" target="_blank" rel="noopener">Photograph by Daderot, via Wikimedia Commons</a>
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var str = 'Picturesque massif on the Hudson River has earned its name due to frequently being mantled with dramatic clouds. This feature made it a favorite subject of 19th-century painters. Colman\'s composition is quite complex, however, since it renders both primeval nature and a rapidly industrializing American--taking the form of rafted steamboats spewing smoke.';
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Colman, Samuel, 1832-1920
<a href="https://commons.wikimedia.org/wiki/File:Smithsonian-Colman-Storm_King_on_the_Hudson-2130.jpg" target="_blank" rel="noopener">SAAM, via Wikimedia Commons</a>
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var str = 'David Johnson was a second-generation school of the Hudson River School who studied with Jasper Francis Cropsey and was friends with his contemporaries John Frederick Kensett and John William Casilear. This is one of several paintings Johnson made of Lack George, which was a popular subject due to its spectacular setting, constantly changing weather, and relative ease of access. Here, we are looking through a narrow passage between the Harbor Islands towards the Tongue Mountain Range, specifically Brown Mountain and its distinctive cliffs. A light rain falls upon the water, from a squall either approaching or having passed.';
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Johnson, David, 1827-1908
Original painting in <a href="http://collections.currier.org/Obj7094?sid=51500&x=2478786" target="_blank" rel="noopener">Currier Museum of Art</a><br /><br /><a href="https://commons.wikimedia.org/wiki/File:Harbor_Island,_Lake_George,_NY,_by_David_Johnson,_1871,_oil_on_canvas_-_Currier_Museum_of_Art_-_Manchester,_NH_-_DSC07473.jpg" target="_blank" rel="noopener">Image by Daderot via Wikimedia Commons</a>
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var str = 'Summer Day on Conesus Lake';
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var str = 'A placid scene along the shore of this Finger Lake depicts men and women—there are no children present—at their leisure in genteel dress. Small groups are picnicking, lounging, boating, and perhaps courting.
Kensett, a second-generation painter in the Hudson River School tradition, still evokes beautiful landscapes but with a more modulated emotion than the sublime work of his predecessors. Moreover, many of the notable visual effects here point to humans in the landscape. A beam of light illuminates the white dress of one woman at center left; other points of light in the trees imply other small dramas. At right along the opposite shore there is the hint of a sailboat. And in the background a ray of light cuts across the lake.
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Kensett, John Frederick, 1816-1872
<a href="https://www.metmuseum.org/art/collection/search/11323" target="_blank" rel="noopener">Courtesy of Metropolitan Museum of Art</a>
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var str = 'Dover Plains, Dutchess County, New York';
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var str = 'We look down upon the lush valley formed by Ten Mile River. Although there are a few indirect signs of human habitation, the overall effect is pastoral. Forests blend pleasingly with grassy pastures; flocks of sheep and cattle can be seen grazing near plentiful water. In the foreground a group of three has climbed to a promontory. Two seem focused upon navigating shadowy rocks. The other looks out into the distance, illuminated in a ray of sunlight.';
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Durand, Asher B., 1796-1886
<a href="https://americanart.si.edu/artwork/dover-plains-dutchess-county-new-york-7642" target="_blank" rel="noopener">Smithsonian American Art Museum</a> <br /><br />Gift of Thomas M. Evans and museum purchase through the Smithsonian Institution Collections Acquisition Program
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