Olana State Historic Site
Olana State Historic Site is a historic house museum and landscape in Greenport, New York, near the city of Hudson. The estate was home to Frederic Edwin Church, one of the major figures in the Hudson River School of landscape painting. The centerpiece of Olana is an eclectic villa which overlooks parkland and a working farm designed by the artist. The residence has a wide view of the Hudson River Valley, the Catskill Mountains and the Taconic Range. Church and his wife Isabel named their estate after a fortress-treasure house in ancient Greater Persia, which also overlooked a river valley.
Olana is one of the few intact artists' home-, studio- and estate-complexes in the United States; it was designated a National Historic Landmark in 1965. The house is also a prime example of Orientalist architecture. It is owned and operated by the New York State Office of Parks, Recreation and Historic Preservation, and is also supported by The Olana Partnership, a non-profit 501 organization. The main building is an architectural masterpiece designed by Frederic Church in consultation with the architect Calvert Vaux. The stone, brick, and polychrome-stenciled villa is a mixture of Moroccan, Victorian, Persian and Moorish styles. The interior remains much as it was during Church's lifetime, exotically furnished and decorated with objects from his global travels, and with some 40 paintings by Church and his friends. The house is intricately stenciled inside and out; Church designed the stencils based on his travels in the Middle East. The house contains Church's last studio, built as an addition from 1888 to 1890.
History
In 1845, Frederic Church first sketched on the property that was to become Olana. He was then a student of Thomas Cole, now considered a founding figure of the Hudson River School of painters. On March 31, 1860, a few months before his marriage to Isabel Carnes, Church returned to purchase a hardscrabble farm on a south-facing slope of a hill in Columbia County, near the thriving towns of Hudson and Catskill, New York. The first element he added to the property was a small country cottage, believed to have been designed by Richard Morris Hunt. In addition, Church laid out gardens and orchards, dredged a marsh to create a lake, planted trees, and built a studio. Frederic and Isabel Church called their house "Cosy Cottage" and their property "the Farm".Two children were born to the Churches, a son in 1862 and a daughter in 1865. The family's bucolic life at Olana was forever changed in March 1865, with the deaths of the children from diphtheria. Grieving from this, the greatest emotional blow of their lives, the parents traveled with sympathetic friends to Jamaica for four months, then to a retreat in Vermont. Late in 1865, the couple returned to Cosy Cottage to start anew. Frederic Joseph Church was born in autumn 1866, the first of three sons and a daughter that were raised to adulthood at Olana.
In 1867 Church acquired a parcel of mature woods at the top of his hill, and began planning a large house for the site. After an 18-month trip to Europe and the Middle East, Church hired architect Calvert Vaux and worked with him on the design of the mansion, which was constructed between 1870 and 1872. The Churches hosted notable figures from the literary, religious, artistic and business worlds: writer Charles Dudley Warner and his pianist wife Susan, author and artist Susan Hale, sculptor Erastus Dow Palmer and his wife Mary Jane, industrialist William H. Osborn and his wife Virginia, and humorist Mark Twain. For Christmas in 1879, Isabel Church gave her husband several books on the geography of the ancient Middle East, and shortly thereafter the couple began calling their property "Olana".
Church continuously improved the property, plotting scenic carriage roads and adding a studio wing to the house over the period 1888–1891. Although the Churches often wintered in warmer climates, and spent time in New York City, Olana was their main residence. After Isabel Church's death in 1899 and Frederic Church's death in 1900, the property was inherited by their son Louis Church, who married Sarah Baker Good, daughter of Pennsylvania Industrialist George S. Good in 1901. Louis and Sally Church maintained the property largely as it had been left to them, adding additional acreage for farming. Upon Sally Church's death in 1964, a nephew inherited the estate and intended to sell it to developers at a public auction. After a two-year anti-development campaign led by scholar David C. Huntington, which culminated in a cover story on Olana in Life magazine, New York State purchased the property in 1966 and it was opened to the public.
Landscape
Over the last forty years of his life, Frederic Church created a designed landscape at Olana. In an 1884 letter, Church wrote of his work on the grounds at Olana, "I can make more and better landscapes in this way than by tampering with canvas and paint in the studio." Today Olana is known as one of the most important surviving Picturesque landscapes in the United States. Produced during the same period with the same aesthetic and ideological motivations, the landscape at Olana has been compared to Central Park, designed by Frederick Law Olmsted and Calvert Vaux.Church began the physical landscape design at Olana by searching three years for the ideal property. He had walked and sketched throughout much of New England and elsewhere by that time, but his formative two years studying with Thomas Cole in nearby Catskill, New York, brought him back to the Hudson Valley. The Church estate covers a series of small knolls rising up to the Sienghenbergh – Dutch for "Long Hill" – where the main house is sited. From various points around the property, one has views of the Hudson River, the Catskill, Taconic and Berkshire Mountain ranges, as well as New York, Connecticut, Massachusetts and Vermont.
In 1860, Frederic Church made his initial acquisition of a 126-acre farm, which he developed into a ferme ornée, an ornamental farm. Around Cosy Cottage, a profitable orchard and of vegetable and fruit gardens were created in addition to pastures and crop land, each with a distinct visual character. The family always called their place "the farm," but when he bought the land, Church took about half out of active agricultural production to create a landscaped park. In this park, Church planted thousands of native trees ; created a lake from a swamp; built a freestanding studio, summer house, and rustic benches and railings; and designed of carriage drives paved in crushed red shale mined on site. Church strategically acquired additional adjacent parcels until his property encompassed and the top of the hill where the main house at Olana now stands.
To conceal, reveal and frame vistas of his own property and the wider Hudson Valley, Church combined natural landforms with the careful layout of carriage drives and extensive plantings of trees and shrubs. Frederick Law Olmsted thought of such landscapes as "pictures" through which people might wander. In addition to entertaining often, the Churches opened the Olana grounds to the public. From the popular carriage drives, visitors experienced the artist's landscape vignettes almost as cinema, in a sequence choreographed by Church. The ultimate aspect of Church's designed landscape is the view from the main house. There, the ground drops away sharply, the Hudson widens to across, and the Catskills rise up steeply. Like Church's painted views of Niagara Falls, Canadian icebergs, and South American volcanoes this scene captures the majesty of nature. For the artist and his contemporaries, this vista also captured the essence of their new nation with references to pioneering history, present economic strength, and the distinguished literary and artistic legacies of the region's Knickerbocker Group and Hudson River School.
Main residence
The stone, brick, and polychrome-stenciled villa at Olana is an unusual mixture of Victorian structural elements and Middle-Eastern decorative motifs from different times and places. Moorish elements mix with contrasting Italianate themes. Frederic and Isabel Church were impressed by the architecture they had seen on their travels in Beirut, Jerusalem and Damascus in 1868. Upon their return to their farm, they abandoned preliminary plans from Richard Morris Hunt delineating a manor house in the French style. Instead, Church worked closely with architect Calvert Vaux to realize a more personal vision. Church was responsible for the overall design and much of the detail, with Vaux's involvement essentially that of consultant. Church wrote to a friend, "I am building a house and am principally my own Architect. I give directions all day and draw plans and working drawings all night." The result was a villa with asymmetrical massing of towers and block masonry punctuated by fanciful windows and porches. The irregular silhouette of the exterior contrasted with the more regular rhythm of rooms arranged around a central hall. On the exterior, Middle Eastern motifs were carried out in colored brick, slate, ceramic tile and especially stenciling. The cornices of the separate sections of the structure were each ornamented with multi-colored and gilt stenciling, the patterns designed by Church himself. The stenciling continued in the principle rooms of the first floor. Together, the various motifs and themes create a unique artistic unity, one that is difficult to categorize. It has been called variously Persian-Moorish-Eclectic, and Italianate-Eastern-Picturesque. Poet John Ashbery described the results: "The ensemble is breathtaking, and despite the proliferation of architectural elements and polychrome tile decoration, it is not busy but solemn and wildly fanciful, like Church's painting."Church designed or commissioned many other devices, such as amber glass windows overlaid by cut-paper patterns and carved teak woodwork by Lockwood de Forest's workshops in Ahmadabad, India. With no architectural adviser, Church designed and built the studio wing at the west end of the house, which included guest rooms and a glassed-in observation room in the tower. Describing his house to a newspaper reporter, Church characterized it as "Persian, adapted to the Occident".
The furnishings Frederic and Isabel acquired over the course of their lives remain in the house. There are paintings by Frederic Church as well as artwork by his mentor Thomas Cole and friends Martin Johnson Heade and Erastus Dow Palmer. The dining room houses a collection of Old Master paintings. The eclectic assortment of furniture and decorative arts includes carpets, metalwork, ceramics and costumes from the Middle East, folk art and fine art from Mexico, and high-style American and Oriental furniture. The main residence at Olana has been described as a prime example of the Aesthetic Movement in America.