Later in the century it gave rise to an offshoot, known
as Luminism, as exemplified by the Missouri frontier landscapes of George Caleb Bingham (1811 - 1879).
Not exact matches
Friedrich's mystical approach was a precursor to several American art groups, such
as the Hudson River School of New England - exemplified by the works of Thomas Cole (1801 - 48) and Frederic Edwin Church (1826 - 1900)- and the mini-movements of
Luminism and the Rocky Mountain School.
As it was,
luminism (an American painting style) came before Impressionism (a French style), and both movements evolved quite independently of each other.
Exponents of
Luminism included frontier painters like Missouri man George Caleb Bingham (1811 - 1879),
as well
as wilderness or coastal landscape artists - from the Hudson River School and other groups / locations from around America - including Fitz Hugh Lane (1804 - 1865)(Nathaniel Rogers Lane), Martin Johnson Heade (1819 - 1904), Frederic Edwin Church (1826 - 1900),
as well
as John F. Kensett (1816 - 72), Jasper Francis Cropsey (1823 - 1900), Sanford Robinson Gifford (1823 - 80), Albert Bierstadt (1830 - 1902), William Trost Richards (1833 - 1905), Norton Bush (1834 - 94), Edmund Darch Lewis (1835 - 1910), Alfred T. Bricher (1837 - 1908), Thomas Moran (1837 - 1926), George Tirrell, Henry Walton, and JW Hill.
In Strange Muses I, the figure
as a veil - like apparition is reinforced with a prismatic
luminism employed by Hudson River School painters like Frederic Church; the aura surrounding the figure, although a product of the lenticular lens, takes us into the transcendental world of the Hudson River School painters.