Webinars

In this webinar, The Olana Partnership’s Curatorial Assistant, Allegra K. Davis, will examine the life and work of Marianne North through the lenses of Victorian gender roles and practices of imperial science, while drawing parallels between Church and North as travelers, painters, and ultimately, collectors on a global scale.

Join artists Sayler/Morris, Rachel Sussman, and Dr. Scott Manning Stevens as they discuss the connections between art, ecology, and climate change. Sussman’s photographic series The Oldest Living Things in the World and Sayler/Morris’s video installation Eclipse are included in Cross Pollination: Heade, Cole, Church, and Our Contemporary Moment, on view at the Thomas Cole National Historic Site and Olana State Historic Site. The panel will be co-moderated by Cross Pollination Co-Curators Kate Menconeri and Will Coleman.

Join Jean-Marc Superville Sovak, multidisciplinary artist and teaching professional and professor Myra Armstead for a virtual presentation and conversation about the lives of black Americans during the time of Olana’s creation. During this program, Sovak will introduce his series, a-Historical Landscapes, a current project which involves altering 19th-century landscape engravings to include contemporaneous images borrowed from Anti-Slavery publications.

Join artist Portia Munson and conservationist Kathryn Schneider as they discuss Munson’s artwork onsite at Olana, Memento Mori Mandalas. During this presentation, learn more about Munson’s work, which memorializes and honors creatures that have paid the price of humanity’s harsh impact on the land.

May 18, 2021

While Frederic Church won acclaim during his lifetime for his skills as a painter, a focus solely on Church’s paintings ignores his technical experimentation in multiple media, including drawing and printmaking. In this virtual webinar, Maura Lyons (Drake University) will focus on two Civil War-era works, Our Banner in the Sky and Our Flag, to examine Church’s working process more closely. Lyons will highlight her research using scientific techniques to examine Our Flag while working at the Indianapolis Museum of Art (IMA). These techniques allow us to see below the surface layers of paint to detect the presence of other media. Such examinations reveal Church’s working process, which resulted in a flexible visual language that spoke to both the general public and wealthy patrons.

May 11, 2021

The nineteenth-century German naturalist Alexander von Humboldt characterized his life’s work as an endeavor “to represent nature as one great whole, moved and animated by internal forces.” In this presentation, Rachael Z. DeLue, Christopher Binyon Sarofim ’86 Professor in American Art at Princeton University, discusses the challenges presented by such an ambitious undertaking. Consideration of the extraordinary images devised by Humboldt to represent the multifarious phenomena of the natural world sets the stage for an exploration of work by artists like Frederic Church and Martin Johnson Heade, who followed in Humboldt’s footsteps in attempting to render the truth of nature, no matter how elusive, wondrous, or strange. From Humboldt’s teeming diagrams of South American mountain ranges to Heade’s exquisite paintings of hummingbirds, Prof. DeLue explores what it meant in the nineteenth century for artists and scientists to wrangle the natural world with pen, ink, and paint and why, so often, the task proved an impossible one.

April 28, 2021

In 1851 Frederic Church travelled through Virginia in the company of his patron Cyrus Field with the goal of reaching and painting that state’s most famous landscape, the Natural Bridge. Formerly the property of Thomas Jefferson, the Natural Bridge was frequently rendered by the pencil and brush of nineteenth century artists, very few of whom could escape the outsized legacy of the former President in crafting a popular conception of the Natural Bridge. Christopher Oliver will consider Church’s painting of the following year, The Natural Bridge, Virginia, and its preparatory sketches, which are in the collection of Olana, in relation to the Natural Bridge’s contemporary associations with American history, western expansion, and slavery.

April 14, 2021

Join artist Jean Shin as she shares the ideas and ecological urgency behind her new artwork onsite at Olana, Fallen. During this presentation, learn more about Shin’s work and this project, which brings attention to the loss of this once-majestic hemlock on Olana’s main lawn. When the artist Frederic Church created Olana’s 250-acre naturalistic landscape, he planted thousands of native trees on a hillside that had been previously logged and deforested. In the 19th century, hundreds of thousands of hemlocks were cut down for the tanning industry, which used the tannin in the tree’s bark for the commercial demands of leather-making. Fallen invites viewers to reflect on this tree’s life and the cultural history of this region. While reckoning with the devastating consequences of deforestation in the local history, Shin’s project invites viewers to observe their natural surroundings more closely and witness nature’s struggles. Through her work and during this webinar, Shin will consider how we can learn from the past and coexist without exploiting nature and how we can protect the hemlocks that remain for future generations.

March 23, 2021

Eliza Pratt Greatorex (1819-1897) and Frederic Church (1826-1900) were two near-contemporary visual artists of fierce ambition and enormous talent. They inhabited the same New York art world, traveled extensively in the service of their art, and earned critical acclaim across the United States and Europe. Putting their careers in dialogue, this presentation examines their artistic practices, globe-trotting itineraries and strategies for engaging with the public. Given that Church was a Connecticut Yankee with deep American roots while Greatorex (née Pratt) left her native Ireland for NY during the Great Famine in 1848, Professor Katherine Manthorne will probe the roles that family background, faith and gender played in their individual searches for success and home.

February 24, 2021

In the U.S., one of the earliest and most passionate discussions around the fine arts and their role in defining American identity and national aspirations took place over neoclassical sculpture. Issues of belonging and citizenship, gender, race, region, and class were negotiated through the medium of marble. In the 19th century, Mary Edmonia Lewis (1845-1907), the first woman of Ojibwe and African American descent to gain international acclaim as a sculptor, entered these conversations. In this presentation, Professor Kirsten Buick will explore the impact of Lewis’s career on the most compelling debates of her day–the fight to abolish slavery, True Womanhood, spirituality, and how the U.S. would resolve its relationship to its Indigenous populations.

January 6, 2021

During this Olana Perspectives Webinar, Jennifer Raab, Associate Professor in the History of Art at Yale, will investigate how Frederic Church’s travels through the Middle East and his paintings of Jerusalem and Petra shaped his Hudson Valley home and masterpiece, Olana. Raab is the author of Frederic Church: The Art and Science of Detail (2015), which considers a selection of Church’s major landscape paintings in light of scientific discoveries of the nineteenth century.

November 18, 2020

Michele Phillips is the Paper Conservator at the New York State Office of Parks, Recreation and Historic Preservation (NYSOPRHP), working at the centralized conservation labs at the Bureau of Historic Sites & Parks, Peebles Island Resources Center. Her treatment specialty ranges from prints, drawings & letters, to wallpaper & large maps. Michele is a Professional Associate of the American Institute for Conservation, a regular presenter at international museum conferences, and a grant reviewer for the Institute of Museum and Library Services and the New York State Council of the Arts. She lives in Troy, NY, where she is a trustee of the Hart Cluett Museum.

Have you ever wondered what kind of work goes into caring for the delicate and diverse permanent collection of Olana and readying works of art for exhibition? In this talk, we’ll hear from one of the nationally prominent conservators who care for the collections of the New York state historic sites network. Michele Phillips will offer a lively glimpse into the particular challenges of dealing with old works of art on paper, including drawings, documents, engravings, and photographs.

She’ll provide a number of case studies from the collection that illustrate the creative problem solving that goes into her work, combining art and science to ensure this great collection can be enjoyed by the public for many years to come. This will be a rare chance to see behind the scenes of the vibrant public-private partnership that makes Olana tick.

October 28, 2020

This talk by one of the world’s leading scholars and advocates of Mexico’s rich tradition of textile art will focus on a little known story in Olana’s diverse collections. Marta Turok takes as her focus Olana’s important holdings of uncannily well preserved “rebozos,” traditional shawls primarily used by indigenous women that were purchased by the Church family during their travels in Mexico. She will give a brief overview of the history of the Mexican rebozo and share the challenges facing the future of this emblematic garment, including activities being undertaken for its revitalization.

October 14, 2020

One of our country’s most prominent curator-scholars shares the unique perspective of his decades-long engagement with Frederic Church and Olana. This personal reflection looks back on how he came to know Church, to study him and his work seriously in graduate school, to work as a curator of his work in groundbreaking exhibitions and publications, and brings the story down to the present day with his bird’s-eye view of the recent fate of Church’s work, including rediscoveries, new research, and the art market.

September 30, 2020

Frederic Church, America’s first international art star, returned from his travels through the Near East in 1869 filled with inspiration for the great house that he planned to build on his property near Hudson, New York. He turned to Calvert Vaux, an architect well known for his successful collaborations with landscape designers, particularly Church’s friend Frederick Law Olmsted. Dr. Sean Sawyer, the Washburn and Susan Oberwager President of The Olana Partnership, will explore the intensely collaborative design partnership that produced Olana’s Main House.

September 9, 2020

Mary Roberts is the John Schaeffer Professor of Art History at the University of Sydney. She is a specialist in nineteenth-century European Orientalist and late Ottoman art, with particular expertise in the history of artistic exchanges and the culture of travel. In 2016 she was awarded the Art Association of Australia and New Zealand’s Book Prize for Istanbul Exchanges. Ottomans, Orientalists and Nineteenth-Century Visual Culture (University of California Press, 2015). Her first book, Intimate Outsiders: The Harem in Ottoman and Orientalist Art and Travel Literature, was published by Duke University Press in 2007. She has co-edited four other books and has been a Getty Scholar, CASVA Senior Fellow, YCBA Fellow and Clark-Oakley Fellow. Her next book is on artists as collectors of Islamic art.

“About an hour this side of Albany is the Center of the world – I own it.”

Frederic Church to Erastus Dow Palmer, July 7, 1869

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 analysing three of the interior sightlines within his home and considering the way each distinctively engages with visual cultures of the Near East. First, the sitting room: I tease out the significance of Church’s painting, El Khasné, Petra, in this space by studying his drawings made while travelling and the written account of that journey. Second, the court hall: paying particular attention to the optical effects Church was creating with his staircase, my study of the preparatory drawings for this part of the room reveals the diverse Islamic secular and religious visual sources he was translating into this focal point of his orientalist interior. Third, the fireplace sightline in one of the upstairs bedrooms: this brings into consideration an artist who was Church’s contemporary – the ceramicist Ali Mohammed Isfahani – whose work also circulated within global networks of patronage. Through this focus on some of Olana’s object worlds, its sightlines and architectural translations of eastern ornament, I explore the cultural politics of Church’s practice of worlding.

July 22, 2020

Farshid Emami is an assistant professor in the department of art history at Rice University. He is a historian of Islamic art and architecture with a focus on the early modern period and particularly Safavid Iran. He completed his Ph.D. in History of Art and Architecture at Harvard University in 2017. He is currently completing a book manuscript that offers a new narrative of architecture and urbanism in seventeenth-century Isfahan, the Safavid capital, through the analytical lens of urban experience. Drawing on unstudied primary sources, the book takes the reader on journeys through Isfahan’s markets, gardens, and coffeehouses, analyzing how the city fostered new human experiences and became a setting for fashioning selves.

Besides his publications on Safavid art and architecture, Farshid Emami has written on a range of topics in art and architectural history, including lithographic printing in the nineteenth century and modernist architecture and urbanism in the Middle East. His articles have appeared in the Muqarnas, Metropolitan Museum Journal, Journal for Early Modern Cultural Studies, South Asian Studies, and International Journal of Islamic Architecture.

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. An examination of the context in which these tiles were created and transferred reveals that they do not merely reflect a traditional craft but were also products of the emerging tastes of the late nineteenth century in Western Europe and North America as well as in Qajar Iran.

July 8, 2020

Sarah Coffin is an independent decorative arts and design consultant, curator, and lecturer, who is a member of Olana’s National Advisory Committee, Most recently for over 14 years, she was Senior Curator and Head of the Product Design and Decorative Arts Department at Cooper Hewitt Smithsonian Design Museum from which she retired in 2018. While there she curated blockbuster exhibitions on the Jazz Age, Van Cleef & Arpels jewelry, Rococo design from 1730-2008 and Feeding Desire on Dining Design from 1500-2005. In addition she oversaw the creation of the Permanent Collections floor with five exhibitions opening simultaneously for the renovated museum re-opening in 2014. One of the exhibitions she co-curated then was Passion for the Exotic: Lockwood de Forest and Frederic Church, featuring the museum’s de Forest-designed Teak Room and works, primarily from the collection with loans from Olana.

Lockwood de Forest (1850-1932), a painter and interior designer started his artistic career painting with Frederic Church at Olana. Related by marriage to Church, de Forest stayed at Olana during the 1870s, where he studied books in Church’s library on middle eastern design by Pascal Coste and Jules Bourgoin. In 1869 de Forest and Church travelled, painted and shopped in Greece and the Middle East with their families. The purchases appear in both Olana and Lockwood de Forest’s first interior design commission − his parents’ New York house of 1876. 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.

June 24, 2020

Hanan Munayyer is President of the Palestinian Heritage Foundation and a scholar and curator specializing in Palestinian and other Arab traditional dress. Her many exhibition credits include an important contribution as an advisor and essayist for Olana’s 2018 exhibition Costume and Custom: Middle Eastern Threads at Olana, which was guest curated by textile historian Lynne Z. Bassett. She has lectured widely for universities and museums and she co-produced and wrote the script of the 1990 documentary Palestinian Costumes and Embroidery: A Precious Legacy. Since 2009, Ms. Munayyer has been a member of the New Jersey Arab-American Heritage Commission, a state entity to which she was appointed by the governor. In 2011, she published the award-winning book Traditional Palestinian Costume: Origins and Evolution with Interlink Books, the result of 24 years of research about the origins of Middle Eastern textile arts and the evolution of Palestinian costumes and crafts.

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.

Frederic Church’s fascination with architectural decorations of the mansions in Damascus and Jerusalem that inspired the design of Olana also resulted in the acquisition of some “stones from a house in Damascus” (Church letter to W. Osborn, 1868) ) and numerous wall and door designs from Jerusalem that are on display at numerous locations at Olana. These will be highlighted.

June 10, 2020

Robert and Johanna Titus are retired professors of geology and biology. As popular science writers, they have authored four books and a thousand articles about the geology of the Hudson Valley. For years they have been studying how Ice Age glaciers sculpted the landscapes painted by members of the Hudson River School of Art. They have developed a theory that ice age activities had a lot to do with the development of what has been called the “sublime” by art historians and believe that an understanding of ice age history is necessary to fully appreciate our regions’ landscape art.

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. Specifically, Church contoured the grounds in order to create what are called “planned views.” Bob and Johanna Titus will visit three of Frederic Church’s best views and take us back in time to describe how the ice age glaciers sculpted them into the scenic sites that Church could tease from obscurity into landscape beauty. See the Hudson Valley and Olana’s landscape with new eyes—the eyes of scientists who see where science meets storytelling and time travel is possible.