White Mountain art is the body of work created during the 19th century by over four hundred artists who painted landscape scenes of the White Mountains of New Hampshire in order to promote the region and, consequently, sell their works of art. In the early part of the 19th century, artists ventured to the White Mountains of New Hampshire to sketch and paint. Many of the first artists were attracted to the region because of the 1826 tragedy of the Willey family, in which nine people lost their lives in a mudslide. These early works portrayed a dramatic and untamed mountain wilderness. Dr. Robert McGrath describes a Thomas Cole (1801–1848) painting titled Distant View of the Slide that Destroyed the Willey Family thus: "... an array of broken stumps and errant rocks, together with a gathering storm, suggest the wildness of the site while evoking an appropriate ambient of darkness and desolation". The images stirred the imagination of Americans, primarily from the large cites of the northeast, who traveled to the White Mountains to view the scenes for themselves. Others soon followed: innkeepers, writers, scientists, and more artists. The White Mountains became a major attraction for tourists from the New England states and beyond. The circulation of paintings and prints depicting the area enabled those who could not visit, because of lack of means, distance, or other circumstance, to appreciate its beauty. Transportation improved to the region; inns and later grand resort hotels, complete with artists in residence, were built. Benjamin Champney (1817–1907), one of the early artists, popularized the Conway Valley. Other artists preferred the Franconia area, and yet still others ventured to Gorham, Shelburne and the communities of the north. Although these artists all painted similar scenes within the White Mountains, each artist had an individual style that characterized his work. These landscape paintings in the Hudson River tradition, however, eventually fell out of favor with the public, and, by the turn of the century, the era for White Mountain art had ended.
Art of the White Mountains
Beginning in the first decades of the nineteenth century, artists and writers were drawn to the pristine beauty of north New Hampshire's natural wonders: majestic peaks in the Franconia and Presidential ranges crowned by Mount Washington, the highest summit in the northeast; Crawford, Pinkham, and Franconia “Notches”—dramatic, narrow passages between the mountain walls; and spectacular waterfalls such as the Flume Gorge. Early landscapists including Thomas Doughty, Thomas Cole, and Benjamin Champney, later masters Winslow Homer and George Inness, and twentieth-century modernists such as William Zorach, were all inspired by the singular topography of the White Mountains. Indeed, the list of painters who went there reads like a “who's who” of American art.
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