Google Lens entry:Here we see the power of the ocean and our inconsequentiality before it. The beach is deserted except for the viewer's presence, and the fringe of white foam at the water's edge, all but invisible in the harsh glare of midday, glows under the low light of dusk. Figures are visible in the distance—two men sit in a small rowboat—but they are dwarfed by nature's expanse. Heade is one of a number of American artists who have been grouped together as “luminists.” While these artists never worked as a school—they did not necessarily know each other--their work shares a number of formal characteristics: pronounced horizontal format, absence of visible brushstrokes, and a close attention to the qualities and effects of light.-----------Martin Johnson Heade (1819-1904)Singing Beach, Manchester, Massachusetts,1863Oil on canvasGift of Mr. and Mrs. John D. Rockefeller 3rd1993.35.12Beginning in 1859, Martin J. Heade frequented coastalresort areas along the New England seaboard. This viewdepicts dawn breaking over Singing Beach in Manchester,Massachusetts, about thirty miles north of Boston. Headecombined local landmarks, including Eagle Head Bluff,Kettle Island, and Rock Dundy, to create a less accurate butmore picturesque image. Heade gained critical acclaim bothin the United States and abroad—as evidenced in this 1873review in the London Art Journal:The landscape artists of America are rapidly coming to thefront; already they are the powerful rivals of the British painters,and certainly surpass those of the Continent. . . . There is nowanother name that we shall add to the lists of great masters . . .that of M. J. Heade.Art Journal (London), 1873, as cited in Robert G. McIntyre,Martin J. Heade (New York: Pantheon Press, 1948)Audio tour tstop 323