The Grand Women Artists of the Hudson River School

Unknown and forgotten to history, these painters of America's great landscapes are finally getting their due in a new exhibition

  • By Judith H. Dobrzynski
  • Smithsonian.com, July 21, 2010, Subscribe
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Field Beach by Mary Blood Mellen
Field Beach, c. 1850s, Mary Blood Mellen. (Cape Ann Museum, Gift of Jean Stanley)

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Untitled by Laura Woodward

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Though their paintings were largely left out of the story of American art, the exhibition displays work that reflects the same romantic sensibility, respect for balance, luminosity and love of picturesque landscapes as those of artists like Cole, Asher B. Durand and Frederic Church. “These paintings aren’t particularly feminine; they’re not flowery,” Jacks says. “If you walked into the show, you’d just say these are a group of Hudson River school paintings. They are part of the movement. It’s our own problem that we haven’t included them in the history of the Hudson River school.”

Jacks says the show came about after a board member and a former board member of the Cole site separately asked, “What about the women?” She contacted Siegel, with whom she had worked previously. Siegel, who had already been working on the subject, then called Krieger, who she thought would know which private collectors owned works by these artists. Krieger, whose interests include feminist art history, was delighted: on her own, she had hired an assistant to help her research this area. “We had all conceived it separately, on a parallel track,” she explains.

According to Jacks, visitors to the show are amazed by the quality achieved by artists wholly unfamiliar to them. “The number one question we’ve been asked is ‘why hasn’t anyone done this before?’ I don’t know how to answer that,” she says.

The exhibition has provoked another desired response, though. In hopes of creating a larger exhibition that might travel to other venues, the curators are in search of more works, They have already added to their list of potential works to borrow and artists to include. Among the artists new to Krieger are Emma Roseloe Sparks Prentice, Margaretta Angelica Peale and Rachel Ramsey Wiles (mother of Irving Wiles).

The exhibition in Catskill runs through October.

And then—after the paintings, drawings and photographs are returned to their owners—Siegel and Krieger will begin work on the larger task of ensuring that these women become part of the American art narrative. To add that chapter, says Siegel, “there is much more work to be done.”

Editor's Note -- July 29, 2010: An earlier version of this story indicated that the "Remember the Ladies" exhibition would be moving to the New Britain Museum of American Art. It is no longer scheduled to be shown at that museum.


When Americans took to travel and tourism in the mid-19th century, exploring the great landscape around them brought particular challenges, especially to women, who were constrained by the strictures of proper behavior and dress. But that didn’t stop a coterie of female artists like Susie M. Barstow, who not only climbed the principal peaks of the Adirondacks, the Catskills and the White Mountains, but also sketched and painted along the way—sometimes “in the midst of a blinding snow-storm,” according to one account.

If you have never heard of Barstow, you are not alone. The curators of “Remember the Ladies: Women of the Hudson River School,” a little exhibition in upstate New York that features works by Barstow and her cohorts, have set themselves the enormous goal of rewriting a chapter in American art history—to include these artists.

These women ventured on their own or alongside male relatives into the wilderness, painting the glorious scenery that inspired America’s first art movement. And as the show on view since May at the Thomas Cole National Historic Site in Catskill, New York, amply demonstrates, they made works that are just as awe-inspiring as those of their male counterparts.

“I was so moved by Harriet Cany Peale’s Kaaterskill Clove,” says Elizabeth Jacks, director of the Cole site, which honors the founder of the Hudson River school. “When you see it in person, it looks like it belongs in the Metropolitan Museum of Art.” Or perhaps other museums. Curators Nancy J. Siegel, an art history professor at Towson University in Maryland, and Jennifer C. Krieger, managing partner of Hawthorne Fine Art in New York City, have had from the start ambitions beyond mounting “the first known exhibition to focus solely on these women.”

Who are these women, so long ignored, that even experts like Nancy G. Heller, author of Women Artists: An Illustrated History,” whose fourth edition was published in 2004, make no mention of them?

Often they were the sisters, daughters and wives of better-known male artists. Harriet Cany Peale, at first a student of Rembrandt Peale, became his second wife. Sarah Cole was Thomas Cole’s sister; her daughter Emily Cole is also in the exhibit. Jane Stuart called Gilbert Stuart “father.” Evelina Mount was niece to William Sidney Mount, while Julia Hart Beers was the sister of two artists, William Hart and James Hart. Others—Barstow, Eliza Greatorex and Josephine Walters, among them—had no relatives in the art world.

Although women were educated in the arts, being a professional artist in the 19th century was the province of men. Most art academies didn’t admit women, and neither did the clubs that linked artists with patrons. The requisite figure-drawing classes, which featured nude models, were off-limits to most women. One artist in the exhibition, Elizabeth Gilbert Jerome, was forbidden from making art, an activity considered by some to be so unladylike that when she was 15, her stepmother burned all of her drawings. Only at age 27 was Jerome able to begin studying drawing and painting.

Undaunted, these talented women persevered, sometimes with the help and support of men like Cole and Fitz Henry Lane, who both gave instruction to women. Some women of the period exhibited their work at venues like the National Academy of Design, the Pennsylvania Academy of the Fine Arts and the Brooklyn Art Association. And others, like Greatorex, who was widowed at an early age, even managed to support themselves and their families with sales of their art.

Though their paintings were largely left out of the story of American art, the exhibition displays work that reflects the same romantic sensibility, respect for balance, luminosity and love of picturesque landscapes as those of artists like Cole, Asher B. Durand and Frederic Church. “These paintings aren’t particularly feminine; they’re not flowery,” Jacks says. “If you walked into the show, you’d just say these are a group of Hudson River school paintings. They are part of the movement. It’s our own problem that we haven’t included them in the history of the Hudson River school.”

Jacks says the show came about after a board member and a former board member of the Cole site separately asked, “What about the women?” She contacted Siegel, with whom she had worked previously. Siegel, who had already been working on the subject, then called Krieger, who she thought would know which private collectors owned works by these artists. Krieger, whose interests include feminist art history, was delighted: on her own, she had hired an assistant to help her research this area. “We had all conceived it separately, on a parallel track,” she explains.

According to Jacks, visitors to the show are amazed by the quality achieved by artists wholly unfamiliar to them. “The number one question we’ve been asked is ‘why hasn’t anyone done this before?’ I don’t know how to answer that,” she says.

The exhibition has provoked another desired response, though. In hopes of creating a larger exhibition that might travel to other venues, the curators are in search of more works, They have already added to their list of potential works to borrow and artists to include. Among the artists new to Krieger are Emma Roseloe Sparks Prentice, Margaretta Angelica Peale and Rachel Ramsey Wiles (mother of Irving Wiles).

The exhibition in Catskill runs through October.

And then—after the paintings, drawings and photographs are returned to their owners—Siegel and Krieger will begin work on the larger task of ensuring that these women become part of the American art narrative. To add that chapter, says Siegel, “there is much more work to be done.”

Editor's Note -- July 29, 2010: An earlier version of this story indicated that the "Remember the Ladies" exhibition would be moving to the New Britain Museum of American Art. It is no longer scheduled to be shown at that museum.


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Could I send you a photo of an old picture that we were told was in the Hudson Valley style but not signed? Hoping you could provide some guidance. Thanks

Posted by Mat Bampton on January 22,2012 | 06:59 PM

Thank you for your article and lovely images. They were a pleasure to view. We recently purchased an oil on board landscape by an artist named Marjorie V. Stevens. It was bought at an central New York state estate sale. The painting has the initials MVS on the ll, right of the initials is Mar.Stevens, and in the reverse in pencil is written Marjorie Stevens in the same hand as the signature in the front. It is a lovely painting measuring 10 3/4" x 17 1/4", framed in a 2 1/2" wide mohogany frame. Condition of both the painting and frame are very good. We are starting to research. Should anyone have any info about Marjorie V. Stevens we would appreciate a message. Thank you very much.

Posted by Eddie Cantu Clifford on December 14,2011 | 06:15 PM

I just purchased a painting listed as Hudson River Valley, done in 1831 by M. Wood Smith. does anyone know this artist?
I am guessing it may be a woman, and the only woman I have found is a Matilda Wood Smith, born in 1804 and lived in Goshen, NY., but I don't know if she was an artist? Any info would be most appreciated. Thanks.

Posted by debbie daugherty on September 18,2011 | 01:10 PM

Ooopps. I answered the wrong comment. It was not Dr. Wieting but Rebekah Mosby who asked about an artist named Helen.

Posted by Dolly MacIntyre on August 1,2011 | 12:53 AM

In response to Dr. Wieting's quest for a painter named Helen, I have the following:
Helen Knowlton 1832-1918
Helen Merriam b. 1844
Helen Nicolay 1866-1954

These women did paint landscapes in the White Mountains of NH

Posted by Dolly MacIntyre on August 1,2011 | 12:47 AM

I have been researching Women Artists of the White Mountains (NH): 1840-1940 for 20 years and now have a list of 150 who are known to have painted White Mountain subjects. I am hopeful that my work wll eventually be printed and the work exhibited so the world will know the other HALF of the American art story.

Posted by Dolly MacItyre on August 1,2011 | 12:36 AM

WAS A CATALOGUE OF "THE GRAND WOMEN ARTISTS OF THE HUDSON RIVER SCHOOL" SHOW PUBLISHED? IS IT AVAILABLE? IF SO, HOW CAN ONE OBTAIN IT? HG

Posted by HARRIET GROSE on November 14,2010 | 09:53 AM

Finally this is being documented. i would love to write for your upcoming projects.

Posted by Elizabeth Rogers on October 18,2010 | 01:18 AM

There are others not mentioned here, although I have no idea if their work has survived. Eliza, sister of Albert Bierstadt, was an artist in her own right. And Hudson River School artist William Haseltine, also of the Tenth Street Studios in NYC, was brought up in an artistic family in which his mother was an artist. David Delo, author of a forthcoming historical biography of Albert Bierstadt.

Posted by David M. Delo on October 6,2010 | 08:10 PM

If one clicks on the box on the right labeled "Photo Gallery," one can see numerous beautiful examples of the artists' works.

Posted by Deborah C. Pollack on August 29,2010 | 08:56 AM

The exhibit, "Remember the Ladies" is at the Thomas Cole House in Catskill, NY. Just google Thomas Cole House and you'll get all the info. As for artist Emily Cole, she was Thomas Cole's daughter, not Sarah's.

Posted by Carolyn Bennett on August 28,2010 | 04:53 PM

I am perplexed that only one photograph of an exhibited work was included in this online story. The internet is a medium designed for enriched content, but in a story about forgotten works of art, the magazine has forgotten to include images of the works displayed in the exhibit.

I was also surprised by the use of the word "little" to describe the exhibit, which belittles the exhibit and the story. Don't make judgments for readers; tell us how many paintings, sketches and drawings are displayed and let us judge for ourselves.

Posted by Barbara Mack on August 26,2010 | 05:42 AM

It's truly refreshing to find an article devoted to women artists (obviously a neglected subject for generations), and to 19th century aesthetics as well. I am biased, of course; I collect 19th century American paintings, and have a number of works by women, including several (Mellen, Woodward, Greatorex and Coman) mentioned or illustrated in this article. It is worth emphasizing, however, as a counterpoint to the sincere enthusiasm and energetic encouragement of most of the commentators above, that to this very day, women's art - works fully as vigorous, skilled, arresting and profound as that of their male counterparts - is still largely disdained by curators and collectors alike. Exhibits and articles like this one will, of course, help broaden the artistic vision of curators everywhere, but I wonder how long it will be before the marketplace accords women's art the monetary values its aesthetic merit deserves. Since I'm still collecting, I'm in no rush: paintings by women have been the greatest bargains I've ever encountered in the world of fine art trading. But the bias against women artists remains an observable, if inexplicable, fact.

Posted by William F. Wieting, M.D., York Harbor, Maine on August 25,2010 | 06:31 PM

It's still not clear to me which Smithsonian Museum is exhibiting this Hudson River School collection. Will someone point me in the right direction, please?

Posted by Elizabeth Macklin on August 21,2010 | 12:55 PM



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