What kind of world is it that Frederic Church was creating in his Persian-inspired home on the Hudson? This lecture proposes some answers to this question by analyzing three of the interior sightlines within his home and considering the way each distinctively engages with visual cultures of the Near East.

Among the works kept at Olana are a group of ceramic tiles and objects attributed to Ali Muhammad Isfahani, a master of ceramic production active in Iran in the late nineteenth and early twentieth century during the late Qajar period (1789-1925). This presentation examines the imagery, iconography, and provenance of this corpus, particularly focusing on the figural tiles installed at two fireplaces at Olana.

Lockwood de Forest (1850-1932), a painter and interior designer started his artistic career painting with Frederic Church at Olana. De Forest’s main contribution to Olana came after he set up an studio of mastercraftmen in the Indian city of Ahmedabad, in Gujarat in 1880-81 for the production of woodwork, metalwork, and other decorative designs. This talk will go inside Olana on a virtual tour of elements and furniture provided by de Forest, mostly from his Indian studio, supplemented by images of other work by de Forest and related Indian sources, with special reference to how he and Church collaborated at Olana.

As Frederic and Isabel Church travelled in Syria, Lebanon and Palestine in 1868, they commented on the “picturesque costumed individuals” (Isabel’s diary, 1868) they saw, inspiring them to bring back to Olana some costumes that are now some of the oldest extant Palestinian and Syrian costume items in any collection. They were featured in Church’s paintings of the Middle East, and were used in “a la Turque” parties at Olana. This collection will be reviewed in this presentation.

The 250 acres of land that comprise Frederic Church’s OLANA became the canvas for his pioneering endeavors in landscape architecture. Participants will learn about the geological history of Olana and the forces that shaped the 19th-century Hudson River School artist’s designed landscape.

In the summer of 1859, Frederic Edwin Church (1826-1900)—the most celebrated American landscape painter of his time—journeyed to Newfoundland and Labrador to study and sketch icebergs. These studies, drawn from Cooper Hewitt’s collection of over 2,000 drawings by Church, offer us a moment to reflect with reverence on the fragility of our natural world. Join curator Caitlin Condell as she gives a virtual tour of the exhibition After Icebergs at Cooper Hewitt, Smithsonian Design Museum and tells the story of how Church’s sketches came to Cooper Hewitt.