11月 2026 更新 · 当サイトの人気スコア（各作品の検索数、閲覧数、注文数）に基づくランキング · 6点の Ben Fosterの作品がカタログにあります
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Ben Fosterが遺したオリジナル作品の中で最も有名なものは、ニューヨークのメトロポリタン美術館に収蔵されているIn the Connecticut Hills (1914)です。 それに次いで、Birch-Clad Hills (1908)とEarly Moonlight (1912)が続きます。 Ben Fosterによる6点の作品をカタログに掲載しています。当ギャラリーでは、世界が称賛する6点を選定し、制作年、所蔵美術館、そしてその背景にある物語とともにご紹介しています。
There is a particular stillness that settles over the New England landscape when the light begins to fade or the clouds thicken. In this oil on canvas, we find ourselves looking into a wooded hillside, a scene that feels less like a captured moment and more like a lingering mood. The composition is defined by the rhythmic, vertical presence of slender tree trunks that anchor the foreground, drawing the eye…
このページに掲載されている絵画を最も多く所蔵している 5 の美術館
| 美術館 | 都市 | Ben Fosterの作品 | このリストの絵画 |
|---|---|---|---|
 Reading Public Museum |
レディング | 2 | Corn Stalks and Pumpkins, The Church at Dedham, Mass. |
 メトロポリタン美術館 |
ニューヨーク | 1 | In the Connecticut Hills |
 スミソニアン・アメリカン・アート・ミュージアム |
Washington, D.C. | 1 | Birch-Clad Hills |
 トレド美術館 |
トレド | 1 | Early Moonlight |
 Phoenix Art Museum |
フェニックス | 1 | Along the Canyon Rim |
わずか10年余りの1908年から1916年にかけて、Ben Fosterによるこのセレクションに含まれるすべての年代のオリジナル作品が世界に発表されました。その軌跡を年ごとにご紹介します。
年代を選択して、当時のオリジナル作品を見る
There is a particular stillness that settles over the New England landscape when the light begins to fade or the clouds thicken. In this oil on canvas, we find ourselves looking into a wooded hillside, a scene that feels less like a captured moment and more like a lingering mood. The composition is defined by the rhythmic, vertical presence of slender tree trunks that anchor the foreground, drawing the eye…
In the Connecticut Hills (1914)（メトロポリタン美術館, ニューヨーク）。次いでBirch-Clad Hills (1908)、Early Moonlight (1912)が続きます。
62歳：In the Connecticut Hillsは1914年の作品で、Ben Fosterの生年は1852年です。
当カタログには、1908年から1916年にかけて制作されたBen Fosterによる6点の作品が収められています。
主にReading Public Museum (レディング), メトロポリタン美術館 (ニューヨーク) と スミソニアン・アメリカン・アート・ミュージアム (Washington, D.C.)に所蔵されています。上記の美術館一覧にすべて記載されています。
このページでは、最も古い作品はBirch-Clad Hills (1908)、最新の作品はAlong the Canyon Rim (1916)です。
Corn Stalks and Pumpkins と The Church at Dedham, Mass.：Reading Public Museum, レディングには、このページに掲載されている作品のうち2点が所蔵されています。
The landscape of North Anson, Maine, provides the initial backdrop for a life defined by a slow, deliberate pursuit of light and shadow. Born in 1852, Benjamin Foster does not enter the art world with the suddenness of a prodigy. Instead, he navigates the practicalities of survival, working as a merchant to fund a late-blooming devotion to the canvas. By the 1870s, the focus shifts to New York City. Here, the atmosphere of the Art Students League begins to shape his vision under the guidance of Abbott Thayer. The influence of Thayer manifests in a specific sensitivity to floral still life, a precision that would later settle into the broader, more atmospheric compositions of his mature years.
The transition from the mercantile to the aesthetic is not a leap, but a steady migration. By the 1880s, the scene moves to Paris. The air of the French capital offers a different kind of rigor. Studying under Luc-Olivier Merson, Harry Thompson, and Aimé Morot, Foster absorbs the technical discipline required for the Paris Salon. He moves through the French countryside and the environs of Barbizon, absorbing the weight of the atmosphere before returning to the United States. This period marks the hardening of his intent, a movement away from mere representation toward a specific, tonalist sensibility.
Foster’s work finds its true home in the quiet corners of the American landscape. He avoids the frantic energy of plein air painting, preferring the controlled environment of his studio to refine the mood of a scene. His focus settles on the New England countryside, specifically the rolling hills and wooded areas of Connecticut. The colors are never loud; they are muted, restrained, and deeply specific to the changing seasons.
His technique relies on a limited palette to evoke a sense of stillness. In works like In the Connecticut Hills, the light does not strike the landscape so much as it settles upon it. This approach creates a sense of solitude, capturing the essence of the New England terrain without the distraction of high-contrast drama.
The significance of Foster’s contribution lies in his commitment to a specific, poetic vision of the American landscape. He was an artist who sought deeper meanings in the subtle shifts of light and color, remaining indifferent to the more popular or casual trends of his era. His presence in major collections confirms the lasting weight of his quiet observations. His works reside in the following institutions:
By the time of his death in 1926, Foster had established himself as a definitive voice in American Tonalism. He left behind a body of work that serves as a record of a specific, atmospheric way of seeing the world, where the landscape is not merely a subject, but a mood captured in oil and pigment.
