Any total or partial reproduction of the images authorized by the Fundación must be accompanied by the following mention: Author's name.In this case, the credit line must include the following mention: “detail”. The reproduction of a detail or part of the work may only be made with the prior written authorization of the Fundación.In particular, no superposition (of images or texts) on the reproduction is allowed. The image may not be manipulated, deformed, modified, or altered in any way. If the image is used for reproduction, the work must be reproduced in its entirety.The user agrees to use the image of the website solely and exclusively for the purposes described above and in accordance with the following terms of use: Non-commercial use is understood as the use of the images in a context where no profit, monetary or commercial, is generated, directly or indirectly.Īny use other than those indicated above will require the prior written authorization of the Fundación Any request for educational and research use or for non-commercial use (including academic publications), should be directed by email to the Museum Photo Library through the email address This department manages the worldwide distribution of the images of the works of the Museo Nacional Thyssen-Bornemisza and the management of their reproduction rights for those uses. Use for educational and research purposes is understood as the non-commercial or advertising use of images in presentations, conferences, school or university work, in classes at regulated education institutions, as well as in academic publications, with a circulation of less than 1,000 copies, provided that it is non-profit. The Fundación authorizes the downloading of high-resolution images from its website for private use, use for educational and research purposes, and other non-commercial uses. The exploitation rights of the images correspond to the Fundación Coleccion Thyssen-Bornemisza, F.S.P. Proof of this is the fact that his library at Olana included works such as John Tyndall’s Forms of Water in Clouds and Rivers (1872), Eugene Lommel’s Nature of Light with a General Account of Physical Optics (1876) and Ogden Rood’s Modern Chromatics with Application to Art and Industry (1879). However, in addition to these romantic aspects consideration should be given to Church’s growing interest in capturing the effects of light and atmospheric changes, which stemmed from his study of the same scientific treatises used by his Impressionist contemporaries. Here, as in the latter works of Joseph Turner, with whom Church is sometimes compared, the light is the central feature of the composition. Church and Osborn shared the same enthusiasm for the autumn colours, as borne out by the letter the painter wrote to his friend in autumn 1870: “I can fancy your enjoyment of the weather - There is something peculiarly fascinating to me in this period of the Autumn Season.” Church mentions the appeal autumn holds for him in another letter written to his friend the landscape painter Jervis McEntee: “When autumn fires light up the landscape you will see Nature’s palette set with her most precious. Autumn, from the Thyssen-Bornemisza collection, was painted for his great friend and patron William Henry Osborn (1820‒1894), the owner of Castle Rock, a stone-built castle on the banks of the Hudson River. From his new dwelling overlooking the Hudson River, Church captured in his paintings the seasonal changes in the landscape. During the 1870s, on returning from his lengthy tour of Europe and the Near East, Church supervised the construction of Olana, a grand neo-Persian-style mansion where he would spend the last period of his life.
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