A Summary of Letters on Landscape Painting by Asher B. Durand

Asher B. Durand, a leading figure of the Hudson River School, wrote nine essays titled "Letters on Landscape Painting" in 1855.

The Beeches

Asher Brown Durand American

1845

On view at The Met Fifth Avenue in Gallery 759

These letters were published in “The Crayon”, an art magazine, and offered guidance on landscape painting. Below is a summary of the main point of each letter plus some of my favorite quotes:

Portrait of Asher Durand created in multicolored ballpoint pen and casein. Tap on image to view Timelapse video of process

Letter 1: The Purpose of Landscape Painting.

Durand emphasizes the importance of painting directly from nature. He advises artists to avoid artificial studio compositions and instead seek inspiration outdoors, observing the natural world firsthand.

This first letter is incredibly interesting for several reasons but what stands out to me is the context surrounding it. The letter is a response to an artist who had applied to serve as a student to Durand in his studio. It is a rejection letter but more importantly it provides insight into how Durand thinks about painting, nature, learning to paint and much more.

“It is true the pupil thus may save time in the acquisition of certain technical knowledge, mechanical processes, most suitable colors, etc., etc. at the same time, he is, at least, in danger of losing his own identity, and from the habit of seeing with the eyes and falling in the track of his master, in the end, what is most degrading in the mind of every true artist, a mirror imitator, a mannerist.”

-Asher Durand on the potential likely effects of studying art as a studio apprentice…

Letter 2: The Study of Nature

In this letter, Durand stresses the need for rigorous study and practice. He encourages artists to carefully observe nature's details, especially trees, rocks, and skies, as they are fundamental to landscape painting.

“There is yet another motive for referring you to the study of nature early-it’s influence on the mind and heart. The external appearance of this are dwelling place, apart from its wondrous structure and functions that minister to our well-being, is fraughtwith lessons of high and holy meaning, only surpassed by the light of revelation. It is impossible to contemplate with right minded, reverent feeling, it’s inexpressible, beauty and grandeur, forever assuming new forms of impressiveness under the varying phases of cloud and sunshine, time and reason, without arriving at the conviction that all which we behold is full of blessings - That the great designer of these glorious pictures has placed them before us as types of divine attributes, and we in sensibly, as it were, in our daily contemplations to the beautiful order of his works, learn - to conform the order of our lives. -

Thus, regarding the objects of your study, the intellect and feelings become elevated and purified, and in proportion as you acquire executive skill, your productions will, unaware, being viewed with that undefinable quality recognized as sentiment or expression which distinguishes the true landscapes from the mirror, sensual and striking picture.”

Letter 3: Sketching Outdoors (En Plein Air)

Durand advocates for sketching outdoors, where artists can capture the true essence of natural light, color, and atmosphere. He highlights the value of making quick, accurate sketches to use as references for finished works.

Letter 4: Truthfulness to Nature

Durand insists that artists should remain faithful to nature rather than exaggerating or romanticizing the landscape. He argues that truth and authenticity are more compelling than idealized depictions.

Letter 5: Composition in Landscape Painting

Here, Durand discusses the principles of composition, emphasizing balance, variety, and unity. He advises artists to organize elements naturally and avoid rigid, formulaic designs.

Letter 6: The Role of Light and Atmosphere

Durand explains the importance of light, shadow, and atmosphere in creating depth and mood. He encourages careful observation of how light interacts with different surfaces and times of day.

Letter 7: Color and Tonality

In this letter, Durand emphasizes the careful use of color and tonal values to achieve harmony. He advises avoiding overly bright or artificial colors and instead aiming for subtle gradations that reflect nature’s true palette.

“Among the most attractive of these particularities, perhaps, some of the various shades of gray will be found most prominent. This is likely to be the case from its real importance and value as found in nature. In some degree gray is always present; at time so delicately seen as scarcely to be perceptible, at others more visible, yet liable to be overlooked, unless sought for, and at time so quiet and unobtrusive, it seems to admonish the artist that if he would secure the benefit of its presence, he must never give it Undo prominence-it is the summer breeze that Chassin, the heat of all warm colors, and tempers the cold ones into a harmonious union with them; it is accordingly a department of specific color that well deserves our attention.”

Letter 8: Emotion and Expression

Durand discusses how landscape painting should evoke emotion and reflect the artist’s personal connection to the scene. He encourages artists to capture the sublime beauty of nature and convey a sense of awe and reverence.

Letter 9: The Artist’s Moral Responsibility

In the final letter, Durand reflects on the moral and spiritual aspects of landscape painting. He suggests that by portraying nature truthfully, artists can inspire viewers to appreciate and respect the natural world.

Together, these letters form a comprehensive guide to landscape painting, rooted in the philosophy of the Hudson River School. Durand’s emphasis on truth, observation, and emotional connection laid the foundation for American landscape art.

As author Darren Rousar expresses in the introduction of his book “Landscape Painting Asher B Durand | Birge Harrison” the Hudson River school and toneless movement are too great periods in American landscape painting. They often times are referred to as being distinctly American, although both periods had their roots in Europe. Many of America’s famous artists, like Frederick Church, Asher, Durand, George Innis, and James Whistler were part of one of these movements Beyond the examples of their paintings. We are fortunate to have what he considers to be each movements textbooks, and in this book, he provides letters written by Asher Durand and Burge Harrison for preeminent examples of both of these schools of painting.

When this blog post, I’ve summarized the letters of Asher Durand (originally published 1855), and in a future blog post, I will summarize the second part of this wonderful book which is a compilation of letters from Birge Harrison (originally published 1910).

Thanks for checking out my work - be well!