{"product_id":"frederic-edwin-church-view-of-cotopaxi-fine-art-print","title":"Frederic Edwin Church — View of Cotopaxi | Fine Art Print","description":"\u003cp\u003eA snow-capped volcanic peak rises pale against a hazy sky beyond layers of forested ridges, its slopes free of smoke. A waterfall drops through a rocky gorge into a still river below, where a small boat carries a seated figure. Two tall palm trees lean over sunlit boulders in the right foreground, and a figure in a red hat sits among the rocks near the water.\u003c\/p\u003e\u003cp\u003eFrederic Edwin Church made at least ten finished paintings of the Ecuadorian volcano Cotopaxi over his career, inspired by the naturalist Alexander von Humboldt's writing on the interconnectedness of the natural world. This version, completed in his studio shortly before his second trip to South America, shows the mountain dormant and unplumed, in contrast to the erupting cone of his best-known 1862 Cotopaxi. It has belonged to the Art Institute of Chicago since 1919.\u003c\/p\u003e\u003cp\u003eFrederic Edwin Church (1826–1900) was the most celebrated American landscape painter of his generation and the only pupil Thomas Cole ever took. Working from Cole's studio at Catskill and later from Olana, the house he built above the Hudson, he made painting expeditions that few artists attempted — twice to the Andes in the footsteps of Alexander von Humboldt, north to the icebergs off Newfoundland, and on to the eastern Mediterranean. The great canvases that came out of those journeys, among them The Heart of the Andes and Twilight in the Wilderness, were exhibited one at a time to paying crowds who queued to see them. His work is held by the Metropolitan Museum of Art, the National Gallery of Art and the Cleveland Museum of Art.\u003c\/p\u003e\u003cp\u003ePrinted as a museum-grade giclée on Hahnemühle fine art paper using 12-ink archival pigment printing. Available handframed in FSC-certified wood with optional float glass, or unframed. 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