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Get Art Reproductions Old Hook Mill, East Hampton, 1881 by Edward Lamson Henry (1841-1919, United States) | ArtsDot.com

Old Hook Mill, East Hampton

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The Smithsonian American Art Museum is home to a plethora of captivating artworks, including the serene Old Hook Mill, East Hampton by Edward Lamson Henry. This beautiful oil on canvas piece, created in 1881, showcases the artist's mastery in capturing the essence of rural life. The painting features a windmill as its central subject, surrounded by lush greenery and a few scattered figures, evoking a sense of tranquility and peacefulness.

Artistic Style and Inspiration

Edward Lamson Henry's work is characterized by his attention to detail and ability to convey the simplicity and beauty of everyday life. His artistic style is reminiscent of the Barbizon school, which emphasized the importance of capturing the natural world. The Old Hook Mill, East Hampton is a prime example of this style, with its soft brushstrokes and muted color palette.

Reproductions and Availability

For art enthusiasts who appreciate the beauty of Edward Lamson Henry's work, handmade oil painting reproductions are available at https://ArtsDot.com. These reproductions are carefully crafted to capture the essence of the original piece, making them a great addition to any art collection. Discover the beauty of American art with https://ArtsDot.com, where you can find a wide range of handmade oil painting reproductions, including works by Edward Lamson Henry. Visit the website to explore the collection and learn more about the artists and their styles.
For more information on Edward Lamson Henry and his work, visit https://ArtsDot.com or check out the Wikipedia page dedicated to the artist.
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Edward Lamson Henry

Edward Lamson Henry (January 12, 1841 – May 9, 1919), commonly known as E.L. Henry, was an American genre painter, born in Charleston, South Carolina.
Though born in Charleston, by age seven his parents had died and Henry moved to live with cousins in New York City. He began studying painting, there and at the Pennsylvania Academy of Fine Arts in Philadelphia. In 1860 he went to Paris, where he studied with Charles Gleyre and Gustave Courbet, at roughly the same time as Claude Monet, Pierre-Auguste Renoir, Frédéric Bazille, and Alfred Sisley.
In 1862, he returned to the United States, where he served as a clerk on a Union transport ship in the American Civil War. After the war he resumed his painting, with many works inspired by his experiences in the war. He moved into the prestigious Tenth Street Studio Building in Greenwich Village, where Winslow Homer also had a studio. In 1869, Henry was elected to the National Academy of Design, New York.
As a painter of colonial and early American themes and incidents of rural life, he displays a quaint humor. Among his best-known compositions are some of early railroad travel, incidents of stage coach and canal boat journeys, rendered with much detail on a minute scale.
Henry was a member of the New-York Historical Society. Because of his great attention to detail, his paintings were treated by contemporaries as authentic historical reconstructions. In 1884, Henry and his wife Frances Livingston Wells moved to the town of Cragsmoor in the Shawangunk Mountains of Upstate New York where they helped to found an artists' colony. Henry acquired a large collection of antiques, old photos, and assorted Americana, from which he researched his paintings. His wife Frances said that "Nothing annoyed him more than to see a wheel, a bit of architecture etc. carelessly drawn or out of keeping with the time it was supposed to portray".
Henry's "historical fictions" often portrayed an idyllic and agrarian America, one relatively unperturbed by Civil War or by the growing phenomena of industrialization, urbanization and immigration that were taking place during the period in which he painted.
Henry's paintings were extremely popular throughout his life. Art professor William T. Oedel wrote of his legacy, "Perhaps no artist played so consistently and so durably to the American cult of nostalgia in the last quarter of the 19th century as Edward Lamson Henry."
Kept In, 1888. Race was a theme in many of Henry's paintings, inspired by his time in the Civil War.
Presentation of Colors, 1864, depicts the outfitting of two African-American Civil War regiments at the Union League Club of New York.
Washington at the Battle of Trenton. An engraving after a painting by Henry.
Motherhood. Much of Henry's work romanticized traditional American values.

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