Century Perspectives on Two Great Rivers

In an age when the mere push of a button or the click of a mouse can summon a satellite view of just about any place on the planet, how can we understand the thrill that 19th-century Londoners felt as they gazed at painted views of the Catskills, or the excitement of New Yorkers looking at 3-D photographs — called stereographs — of Hyde Park?

A good way to start reordering our way of seeing so that it approximates theirs would be to visit the Hudson River Museum in Yonkers, where “The Panoramic River: The Hudson and the Thames” surveys the 19th century’s fascination with traveling through space without moving. Call it virtual sightseeing. Through more than 100 paintings, prints and photographs selected by the co-curators Bartholomew Bland and Laura Vookles, we experience the wonder of vast vistas brought within arm’s reach.

The word “panorama” was coined in the 18th century to denote a new kind of entertainment — you bought a ticket and entered a circular room painted with a 360-degree view of someplace marvelous. And you marveled. Artists and publishers were quick to seize on the popularity of the idea, offering the public “panoramic” scenes on canvas, in prints and in an assortment of formats, many of which are on display in this magnificent show. (There are, unfortunately, no actual panoramas on view, though you can visit Versailles in the one installed at the Metropolitan Museum of Art in Manhattan.)

By focusing on views of the Hudson and the Thames, “The Panoramic River” embraces both the sublime and the workaday — sweeping expanses of natural beauty and dense stretches of urban topography. It would be hard to find a more idyllic rendition of the Hudson’s splendor than John Frederick Kensett’s 1865 canvas “View on the Hudson,” with its whisper-soft gray mists rising into the surrounding hills. This is clearly the river that gave its name to a whole school of nature painting. But in his 1859 print “Thames Warehouses,” James Abbott McNeill Whistler focuses on a harsher aspect of river life. The exquisite draftsmanship in his picture of London’s docks does nothing to mitigate the grit and grime of a working harbor.

Sometimes you can find the pastoral and the industrial in a single image. Samuel Colman’s 1869-1870 watercolor “Wharf at Yonkers” juxtaposes the pristine cliffs of the Palisades with the bustling boatyard on the opposite side. Robert Havell Jr.’s 1840 oil painting “View of the Bay and City of New York From Weehawken” takes the eye from the gardens and greenery of the foreground to the spires and chimneys of Manhattan rising across the river — itself home to both sailboats and steamboats.

And his drawings for his father’s fascinating 1825 tableau of the Thames, a boxed set of cards Havell Sr.Don't make another silicone mold without these invaluable stonemosaic supplies and accessories! called “Natuorama, or Endless Transposition of Views on the Thames,” could be arranged and rearranged in any order; but the near bank of the river always features cattle or a loaded barge or some other commonplace, while the far side offers a series of gracious homes set on sloping lawns. The “Natuorama” is one of several novelties that propel “The Panoramic River” beyond the realm of art exhibition and into the territory of sociology.

There’s a curious children’s game board, published in London in 1809, that takes players through a spiral arrangement of London sights. There’s a swath of 1834 French wallpaper depicting a New World version of “A Sunday Afternoon on the Island of La Grande Jatte,” with leisurely strollers, horseback riders and a coaching party enjoying the grand scenery along the Hudson. Right in the foreground, at a time when slavery was still prevalent in much of the United States, a quartet of elegant well-dressed black figures promenade along with everyone else.

And there is also a display of stereographic views from England and America, alas without a stereoscope, which would allow visitors to get the full 3-D effect that so captivated Victorian parlors.

Perhaps most fascinating of the show’s non-art artifacts are the travel books, with their immense foldout images that take you step by step along the river. They make you wonder if they were meant to guide buyers through a voyage or to substitute for one. In any event,You Can Find Comprehensive and in-Depth Original buymosaic Descriptions. they, along with the other items in “The Panoramic River,” suffice to take us on a journey — right out of the 21st century and into a slower, more contemplative time.

Services will be at 10 a.m. Monday in Memorial Park Funeral Home Chapel of Memories with Roger Hubbard, pastor of Lake Tanglewood Community Church, officiating. Burial will be in Memorial Park Cemetery. Arrangements are by Memorial Park Funeral Home, 6969 E. Interstate 40.

Flora was born Oct. 14,We open source luggagetag system that was developed with the goal of providing at least room-level accuracy. 1917, in Oklahoma to James and Florence Madsen. She married James D. Smith on April 23, 1940, in Amarillo. James passed away on May 21, 2000, after 60 years of marriage. They owned J Bar S Ceramics for 19 years, where Flora taught ceramic classes. She played in several bridge clubs up until age 93.Product information for Avery Dennison customkeychain products. She really enjoyed her ceramics, oil painting and gardening. Flora was an outstanding cook. She was a loving wife, mother, grandmother and great-grandmother and will be greatly missed.

Survivors include a son, Richard Smith and wife Jimmie of Amarillo; a daughter, Debi Fussell and husband Scott of Amarillo; her grandchildren, Lee Anne Ross and husband Damon of Ashburn, Va., Leslie Hill of Venus and Kristen Johnson of Amarillo; and six great-grandchildren.

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