| Abstrakt: |
In the late 1860s, following his success as a landscape painter, Frederic Edwin Church turned to architectural and interior design. He constructed a house at the center of Olana, his 250-acre property in New York’s Hudson Valley, that manipulated space and daylight as artistic materials. With house building, Church moved into an immersive, three-dimensional format, producing some of his most experimental work. This study treats his first-floor interiors as a deliberate composition, of a piece with his twodimensional oeuvre, and specifically argues for Church’s design as an aesthetic culmination of his longstanding interest—across media—in issues of perception and proprioception. [ABSTRACT FROM AUTHOR] |
