posting the land

Corway Peak, New Hamshire, 1844, Thomas Cole

Bay of Monterosso, Max Pechstein, 1917, Saint Louis Art Museum: Modern and Contemporary Art

Stolzenfels Castle, in the background Lahneck Castle, 1836, Karl Bodmer

The Entire City, 1935, Max Ernst

Low Waterfall in a Wooded Landscape with a Dead Beech Tree, Jacob van Ruisdael , c. 1660-1670, Cleveland Museum of Art: European Painting and Sculpture

Jutting from a dune in the foreground, the massive silvery trunk of a dead tree leads the eye across a waterfall and toward a distant sunlit field where travelers and a dog traverse a sandy path. Partly masked by trees, a ruined building is turned gold by the sun. In Jacob van Ruisdael’s landscapes, dead trees, waterfalls, and ruined buildings were visual expressions of the passage of time. Ruisdael devoted equal attention to the cloud-filled skies looming above the land, creating dramatic patterns of light and shadow and revealing the unseen movements of the wind. Size: Framed: 123 x 157 x 9.5 cm (48 7/16 x 61 13/16 x 3 ¾ in.); Unframed: 99.2 x 131 cm (39 1/16 x 51 9/16 in.) Medium: oil on canvas

Fecamp, the Inner Port under Construction, 1883, Eugene Boudin

Chateau Noir, 1904, Paul Cezanne

The Bridge in Labastide du Vert, 1905, Henri Martin

The Water Garden, 1909, Childe Hassam

Breath of spring, 1890, Aleksey Savrasov