Title: Frederic Edwin Church
Content:  Frederic Edwin Church (May 4, 1826 – April 7, 1900) was an American landscape painter born in Hartford, Connecticut. He was a central figure in the Hudson River School of American landscape painters, best known for painting large landscapes, often depicting mountains, waterfalls, and sunsets. Church's paintings put an emphasis on realistic detail, dramatic light, and panoramic views. He debuted some of his major works in single-painting exhibitions to a paying and often enthralled audience in New York City. In his prime, he was one of the most famous painters in the United States.
Title: List of paintings by Frederic Edwin Church
Content:   This is a list of works by Frederic Edwin Church (1826–1900), an American landscape painter who was part of the Hudson River School. Church's paintings were inspired by his travels, including Africa, Europe, the Middle East, South America, and North America. Sketches are excluded—Church made thousands—unless they are in oil and very finished.
Title: Frederic Edwin Church
Content:   Church began his career by painting classic Hudson River School scenes of New York and New England, but by 1850, he had settled in New York. He exhibited his art at the American Art Union, the Boston Art Club, and (most impressively for a young artist) the National Academy of Design. His method consisted of creating paintings in his studio based on sketches in nature. In the earlier years of his career, Church's style was reminiscent of that of his teacher, Thomas Cole, and epitomized the Hudson River School's founding styles. As his style progressed he departed from Cole's approach: he painted in more elaborate detail and his 
Title: Frederic Edwin Church
Content:   In the last decades of his life Church's fame dwindled, and by his death in 1900 there was little interest in his work. His paintings were seen as part of an "old-fashioned and discredited" school that was too devoted to details. His reputation improved with a 1945 exhibition devoted to the Hudson River School at the Art Institute of Chicago, and that year the Metropolitan Museum of Art Bulletin revisited the original reception of The Heart of the Andes. In 1960 art historian David C. Huntington completed a dissertation on Church that explored his influences and milieu. By 1966 he had written a monograph on Church and organized the first exhibition devoted to Church since his death, for the National Collection of Fine Arts. Huntington recognized 
Title: Frederic Edwin Church
Content:  the product of the second generation of the Hudson River School, a movement in American landscape art founded by his teacher Thomas Cole. Both Cole and Church were devout Protestants, and the latter's beliefs played a role in his paintings, especially his early canvases. Hudson River School paintings were characterized by their focus on traditional pastoral settings, especially the Catskill Mountains, and their Romantic qualities. They attempted to capture the wild realism of an unsettled America that was quickly disappearing, and the appreciation of natural beauty. His American frontier landscapes show the "expansionist and optimistic outlook of the United States in the 
Title: Frederic Edwin Church
Content:  Frederic Edwin Church was a direct descendant of Richard Church, a Puritan pioneer from England who accompanied Thomas Hooker on the original journey through the wilderness from Massachusetts to what would become Hartford, Connecticut. Church was the son of Eliza (1796–1883) and Joseph Church (1793–1876). Frederic had two sisters and no surviving brothers. His father was successful in business as a silversmith and jeweler and was a director at several financial firms. His mother's brother was Adrian Janes, who owned an iron foundry that constructed the U.S. Capitol Dome. The family's wealth allowed Frederic to pursue his interest in art from a very early age. In 1844, aged 18, Church became the pupil of landscape artist Thomas Cole in Catskill, New York after Daniel Wadsworth, a family 
Title: Frederic Edwin Church
Content:  they might be in the poetry, the aroma, of art. The higher and spiritual verities of Nature are the true home of landscape art." Some of Church's paintings relate to, and influenced, the luminist landscape style as well. Luminist art tends to emphasize horizontals, use non-diffuse light, and hide brushstrokes such that the painter's presence, or "personality", is less apparent to the viewer. An exhibition book considers Church's ' and ' to highlight the style's "meticulous draftsmanship and intense colors", while  and The Parthenon "exemplify the style ... in their panoramic structure". Nevertheless, Church is not considered a primarily luminist artist.
Title: Frederic Edwin Church
Content:  and founder of the Wadsworth Athenaeum, introduced the two. Church studied with him for two years; by this time his talent was more than evident. Cole wrote that Church had "the finest eye for drawing in the world". During his time with Cole, he travelled around New England and New York to make sketches, visiting East Hampton, Long Island, Catskill Mountain House, The Berkshires, New Haven, and Vermont. His first recorded sale of a painting was in 1846 to Hartford's Wadsworth Athenaeum for $130; it was a pastoral. In 1848, he was elected as the youngest Associate of the National Academy of Design and was promoted to full member the following year. He took his own students including Walter Launt Palmer, William James Stillman and Jervis McEntee.
Title: The Heart of the Andes
Content:  The Heart of the Andes is a large oil-on-canvas landscape painting by the American artist Frederic Edwin Church (1826–1900). At more than five feet (1.7 metres) high and almost ten feet (3 metres) wide, it depicts an idealized landscape in the South American Andes, where Church traveled on two occasions. Its exhibition in 1859 was a sensation, establishing Church as the foremost landscape painter in the United States. The painting has been in the collection of New York's Metropolitan Museum of Art since 1909, and is among Church's most renowned works.
Title: Frederic Edwin Church
Content:  interpretation, impressions, and imagination to achieve great art. While Church's paintings were widely praised in the 1850s and 1860s, some critics found his detailed panoramas lacking in the imaginative or poetic. In his 1879 American Painters, George W. Sheldon wrote of Church's canvases, "It is scarcely necessary to ... explain what their principal defect is, because, by this time, that defect must have been recognized by almost every intelligent American lover of art. It consists in the elaboration of details at the expense of the unity and force of sentiment.... They are faithful and beautiful, but they are not so rich 

Question: What genre is Frederic Edwin Church?
Answer: landscape art.
landscape painting.
landscape.