George Herbert McCord stands as a significant figure among the second generation of the Hudson River School artists, a movement that defined much of American landscape painting in the 19th century. Born in New York City in 1848, McCord carved a niche for himself with his evocative and atmospheric depictions of landscapes and marine scenes. His career spanned a dynamic period in American art, witnessing the evolution of landscape painting from detailed realism towards more expressive and light-focused styles. McCord was not only a painter but also worked as an illustrator, showcasing a versatility that contributed to his recognition during his lifetime. He passed away in 1909, leaving behind a legacy of works celebrated for their sensitivity to nature's moods.
Early Life and Artistic Formation
George H. McCord entered the world in the bustling metropolis of New York City, an environment that would paradoxically foster a deep appreciation for the natural world in the young artist. While sometimes described as self-taught, McCord did receive formal instruction that shaped his artistic path. He attended the Claverack Academy, also known as Claverack College, located near the Hudson River, placing him geographically and spiritually close to the landscapes that would inspire his school of painting. Furthermore, he studied under notable artists in New York City, including Samuel F.B. Morse, who, although more famous for his invention of the telegraph, was also a respected painter and the first president of the National Academy of Design. McCord also received guidance from James Fairman, another landscape artist active during the period.
This blend of formal training and personal exploration allowed McCord to develop his distinct style. His connection to the art world was solidified early on; he began exhibiting his works at the prestigious National Academy of Design (NAD) in the 1870s. This institution would become a regular venue for his paintings from 1880 onwards, marking his acceptance into the established art community of New York. His early career demonstrated a commitment to capturing the American landscape, a pursuit that would take him far beyond the confines of his native city.
The Hudson River School Context
To fully appreciate McCord's contribution, it's essential to understand the Hudson River School, the first coherent school of American art. Flourishing from the 1820s through the post-Civil War era, its artists sought to depict the American landscape as a manifestation of divine presence and national identity. The first generation, led by figures like Thomas Cole and Asher B. Durand, focused on the detailed, often idealized, portrayal of the Hudson River Valley, the Catskills, and New England. Their work combined meticulous observation with a Romantic sensibility.
McCord belonged to the second generation, which emerged after the Civil War. These artists, including contemporaries like Sanford Robinson Gifford, John Frederick Kensett, and Jasper Francis Cropsey, often expanded their geographical scope, traveling further afield in America and abroad. Stylistically, while still rooted in realism, many second-generation painters showed the influence of European movements like the Barbizon School, emphasizing atmosphere, light, and mood over minute detail. Artists like Albert Bierstadt and Frederic Edwin Church, sometimes associated with this later phase, became famous for their monumental canvases of the American West and South America, pushing the boundaries of landscape painting. McCord operated within this evolving tradition, known particularly for his mastery of atmospheric effects and expressive brushwork, aligning him with the Luminist tendencies seen in some contemporaries, though he maintained his own distinct voice.
Artistic Style and Technique
George Herbert McCord developed a style characterized by its atmospheric depth and expressive quality. He excelled at capturing the transient effects of light and weather, whether depicting the hazy glow of a sunset over water, the dramatic skies of a coastal scene, or the tranquil light filtering through a forest. His landscapes and marine paintings are noted for their evocative moods, moving beyond simple topographical representation to convey an emotional response to nature. While clearly influenced by the Hudson River School's reverence for the natural world, McCord's handling of paint often displayed a looser, more painterly approach compared to the tighter rendering of some earlier figures.
His palette was often rich and nuanced, capable of rendering both the subtle gradations of twilight and the vibrant hues of autumn foliage. He was particularly adept at portraying water, capturing its reflective qualities and movement with convincing skill. This affinity for marine subjects places him alongside other notable American marine painters of the era, such as William Trost Richards and, in some aspects, Winslow Homer, although McCord's style generally remained more rooted in the Hudson River tradition than Homer's bolder realism. The influence of European landscape painting, possibly absorbed during his travels, can be seen in the tonal harmonies and emphasis on atmosphere, reminiscent of Barbizon painters like Jean-Baptiste-Camille Corot or Théodore Rousseau.
A Peripatetic Painter: Travels and Inspiration
McCord was an artist whose vision was significantly shaped by his extensive travels. He was not content to remain solely within the familiar landscapes of the Hudson Valley or New England, although these regions remained important subjects throughout his career. His journeys took him across North America and to Europe, providing a diverse range of scenery that enriched his artistic output. He frequently sketched and painted in New England, capturing its coastal beauty and pastoral charm. He also ventured north into Canada, seeking out its distinct landscapes.
His travels south were equally significant. McCord spent time painting in Florida, a destination that attracted several artists during the late 19th century. Notably, in 1874, he was documented painting in St. Augustine alongside prominent artists like Martin Johnson Heade, a master of Luminist landscapes and tropical scenes, George Inness (though the source mentions "Ines Gooding," this is likely a reference to the renowned George Inness, known for his Tonalist landscapes), and Frank Shapleigh, another painter known for his Florida and White Mountain views. These interactions highlight McCord's participation in the broader artistic community and the shared practice of seeking inspiration through travel. He also explored the Mississippi River region, adding its unique character to his repertoire.
Further afield, McCord traveled to Europe, absorbing the art and landscapes of the Old World, an experience common among ambitious American artists of his time. His most notable journeys, however, may have been westward. The vast, dramatic landscapes of the American West, particularly the Grand Canyon, captured his imagination, leading to significant commissions and powerful works that showcased his ability to handle sublime scale and light.
Major Commissions and Notable Works
McCord's talent attracted significant patronage and resulted in several important commissions during his career. One of the most notable was his work for the Atchison, Topeka and Santa Fe Railway. Like other artists, including the celebrated Thomas Moran, McCord was commissioned by the railroad company to paint the Grand Canyon. Railroads played a crucial role in opening up the West and often employed artists to create images that would promote tourism and westward expansion. McCord's paintings of the Grand Canyon captured its immense scale, unique geological formations, and dramatic interplay of light and shadow, contributing to the visual iconography of this natural wonder. These works stand as important examples of his engagement with the sublime landscapes of the American West.
Another prestigious commission came from the industrialist and philanthropist Andrew Carnegie. McCord was invited to Skibo Castle, Carnegie's estate in Scotland, to paint the surrounding landscapes. This resulted in works such as Skibo Seascape (dated 1899 in one source, though the title varies slightly in others, sometimes cited as Skua Seascape). The Carnegie family was reportedly pleased with his work, even inviting him to social gatherings. This commission underscores McCord's reputation and his ability to attract high-profile patrons.
Beyond these specific commissions, McCord produced a large body of work throughout his career. Titles like New England Landscape and River Landscape (an 1872 example is noted) represent recurring themes. His oeuvre consistently reflects his skill in capturing diverse natural settings, from intimate woodland scenes to expansive coastal vistas and majestic mountain views. These works collectively demonstrate his versatility and his enduring commitment to landscape painting.
Exhibitions, Recognition, and Affiliations
George Herbert McCord enjoyed considerable recognition during his lifetime, evidenced by his active participation in major exhibitions and his affiliations with key art organizations. As mentioned, he began exhibiting at the National Academy of Design (NAD) in New York in the 1870s and became a regular contributor from 1880, eventually being elected an Associate member (ANA). The NAD was the premier art institution in the country, and exhibiting there signified professional standing. He also frequently showed his work at the Brooklyn Art Association and the Pennsylvania Academy of the Fine Arts (PAFA) in Philadelphia, two other vital venues for American artists.
McCord's work was not confined to the major East Coast art centers. He participated in national and international expositions, gaining wider exposure and accolades. His paintings received awards at the New Orleans Exposition, the Mechanics' Institute Fair in Boston, and the Saint Louis Exposition. Such awards were important markers of success and helped solidify an artist's reputation. In addition to exhibiting, McCord maintained a professional presence in New York City, where he reportedly opened his own gallery at one point, further integrating himself into the city's vibrant art market. His consistent exhibition record and the honors he received attest to the esteem in which he was held by critics, patrons, and fellow artists.
Interaction with Contemporaries
While detailed records of McCord's day-to-day interactions can be scarce, his career path clearly placed him in contact with many leading artists of his time. His studies under Samuel F.B. Morse and James Fairman provided early connections. His participation in exhibitions at the NAD, PAFA, and Brooklyn Art Association meant his work was shown alongside nearly every significant American painter of the late 19th century. These venues were also social hubs where artists gathered, exchanged ideas, and formed professional relationships.
His travels provided further opportunities for interaction. The documented instance of painting alongside Martin Johnson Heade, George Inness, and Frank Shapleigh in Florida in 1874 is a concrete example. It is highly probable that during his sketching trips in New England, the Catskills, or the Adirondacks – popular destinations for landscape painters – he encountered other Hudson River School artists like Sanford Robinson Gifford, John Frederick Kensett, or perhaps younger artists exploring similar terrain.
His commission to paint the Grand Canyon for the Santa Fe Railway placed him within a group of artists engaged in depicting the West, most famously Thomas Moran. While they may not have traveled together, they were part of the same artistic project documenting the nation's expanding frontiers. Similarly, his membership in the NAD connected him formally with a wide circle of artists, including figures like J.G. Brown, Eastman Johnson, and Worthington Whittredge. Although not known for extensive written correspondence or diaries detailing these relationships, McCord was undoubtedly an active participant in the artistic milieu of his era.
Legacy and Collections
George Herbert McCord left a significant legacy as a skilled and sensitive interpreter of the American landscape. As a key member of the second generation of the Hudson River School, he helped transition the movement towards a greater emphasis on atmosphere and personal expression, while still retaining a deep connection to the detailed observation of nature. His extensive travels provided a broad canvas for his talents, resulting in a diverse body of work that captures the varied beauty of North America and parts of Europe. His marine paintings are particularly noteworthy for their atmospheric power.
Today, McCord's works are held in the permanent collections of numerous important American museums, affirming his lasting contribution to American art history. These institutions include the Albany Institute of History & Art, the Brooklyn Museum, the Hudson River Museum in Yonkers, the Museum of Fine Arts, Houston, the Metropolitan Museum of Art in New York, the Art Institute of Chicago, and the Pennsylvania Academy of the Fine Arts. The presence of his work, such as the noted River Landscape (1872) reportedly held across multiple institutions, indicates his widespread recognition.
His life and work have also been documented in art historical publications. The Cooley Gallery, for instance, published a work titled The Life and Artistic Journey of a Hudson River Painter, dedicated to McCord. He is also mentioned in broader surveys of the period, such as Voyeurs in Virgin Territory and books discussing art dealers and patronage, like Early Fine Art Dealers, which notes his participation in the Santa Fe Railway expeditions. This continued scholarly and curatorial interest ensures that McCord's achievements remain accessible to new generations.
Conclusion
George Herbert McCord navigated the American art world with skill and dedication, establishing himself as a respected landscape and marine painter within the influential Hudson River School tradition. His ability to capture the subtle nuances of light and atmosphere, combined with his adventurous spirit that led him to paint diverse landscapes from Florida to the Grand Canyon to Scotland, defines his artistic identity. While perhaps not as universally recognized today as some of his contemporaries like Church or Bierstadt, McCord's work embodies the evolution of American landscape painting in the latter half of the 19th century. His paintings continue to resonate with viewers through their evocative beauty and sincere appreciation for the natural world, securing his place as an important figure in the narrative of American art.
