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H. B. Hurlbut, Cleveland (1880, as "Monastery Our Lady of the Snows").
H. B. Hurlbut, Cleveland (1880, as "Monastery Our Lady of the Snows").
Inaugural Exhibition. The Cleveland Museum of Art, Cleveland, OH (organizer) (co-organizer) (June 6-September 20, 1916). Frederic Edwin Church. Smithsonian Institution, Washington, DC (organizer) (co-organizer) (February 2-March 13, 1966); Albany Institute of History and Art, Albany, NY (March 30-April 30, 1966); M. Knoedler & Co., Inc. (June 1-30, 1966). American Paintings 1825 - 1915 from the Cleveland Museum of Art. Johnson-Humrickhouse Museum, Coshocton, OH (organizer) (July 7-November 1, 1979). American Paintings 1825-1915. Johnson-Humrickhouse Museum, Coshocton, OH (organizer) (co-organizer) (July 7-November 1, 1979); Beck Center for the Arts, Lakewood, OH (September 17-October 13, 1980). Object Lessons: Cleveland Creates an Art Museum. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7-September 8, 1991). New York, Century Association (June 7, 1879) (as The Monastery of San Pedro). (Review in Boston Evening Transcript titles the painting "Our Lady of the Snows.") Washington, D.C., Smithsonian Institution, Frederic Edwin Church (February 2-March 13, 1966); traveled to Albany, NY, Institute of History and Art (March 30-April 30, 1966); traveled to New York, Knoedler Galleries (June 1-June 30, 1966), cat. No. 140 and p. 80. Coshocton, OH, Johnson-Humrickhouse Museum, American Paintings 1825-1915 (July 7-November 1, 1979), cat. fig. 7. Cleveland, The Cleveland Museum of Art, Inaugural Exhibition (June 6-September 20, 1916), cat. p. 125, illus. p. 292. Lakewood, OH, The Kenneth C. Beck Center, American Paintings 1825-1915, from the Cleveland Museum of Art (September 17-October 13, 1980), same as Coshocton, OH exhibition. Cleveland, The Cleveland Museum of Art, Object Lessons: Cleveland Creates an Art Museum (June 6-September 8, 1991), illus. in cat. p.15.
Although the location that inspired the painting has been subject to scholarly debate, many believe it derives from Church’s travels through the Ecuadorean Andes nearly a quarter century earlier. The composition reads as an allegory of spiritual salvation: perched atop a dramatic cliff, a brilliantly backlit monastery overlooks a shadowed foreground where a solitary figure navigates a rugged path.
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