Fitz Henry Lane was an American painter and printmaker of a style that would later be called Luminism, for its use of pervasive light.
Fitz Henry Lane
Brace's Rock, Eastern Point, Gloucester, c. 1864
Fitz Henry Lane Sculpture by Alfred Duca
Bowdoin College, Brunswick, Me., lithograph by Fitz Henry Lane, c. 1845
Luminism (American art style)
Luminism is an American landscape painting style of the 1850s to 1870s, characterized by effects of light in a landscape, through the use of aerial perspective and the concealment of visible brushstrokes. Luminist landscapes emphasize tranquility, and often depict calm, reflective water and a soft, hazy sky. Artists who were most central to the development of the luminist style include Fitz Hugh Lane, Martin Johnson Heade, Sanford Gifford, and John F. Kensett. Painters with a less clear affiliation include Frederic Edwin Church, Jasper Cropsey, Albert Bierstadt, Worthington Whittredge, Raymond Dabb Yelland, Alfred Thompson Bricher, James Augustus Suydam, and David Johnson. Some precursor artists are George Harvey and Robert Salmon. Joseph Rusling Meeker also worked in the style.
Fitz Henry Lane, Lumber Schooners at Evening on Penobscot Bay, 1863, National Gallery of Art
Martin Johnson Heade, Thunder Storm on Narragansett Bay, 1868
View of the Shrewsbury River, an 1859 luminist painting by John Frederick Kensett
Communion, oil and metal leaf on panel, by Steven Daluz