x
작품의 원본 비율을 유지하는 미리 설정된 크기 중에서 선택하세요.
특정 프레임이나 공간에 맞도록 직접 크기를 입력할 수 있습니다. 선택하신 크기가 원본 이미지의 비율과 일치하지 않는 경우, 작품을 자르거나 추가적인 손으로 그린 요소를 사용하여 그림을 확장합니다. 제작 시작 전 승인을 위해 디지털 목업을 보내드립니다.
화면 미리 보기는 실제 자르기 또는 확장을 반영하지 않습니다. 최종 구성은 목업을 통해서만 정확하게 확인하실 수 있습니다.
맞춤 크기 제작도 가능하지만, 원본 비율을 유지하기 위해 사전 정의된 목록에서 크기를 선택하시는 것을 권장합니다.
Untitled, Face with Two Hands
복제본 크기
Clarence Schmidt (1897 – 1978) stands apart from the mainstream art world as a singular figure—an outsider artist whose relentless dedication to monumental environmental sculpture cemented his place in American folk art history. His enduring project, "The Miracle on the Mountain," began in 1940 and continued until his death in 1978, transforming a modest hillside near Woodstock, New York into an astonishing assemblage of reclaimed materials—a testament to ingenuity born from necessity and fueled by an unwavering vision.
Schmidt’s artistic journey commenced modestly. Born in Astoria, Queens, he attended high school before abandoning formal education to join his father as a mason and plasterer—a formative experience that instilled within him a profound understanding of construction and material manipulation. Accounts describe him crafting sets for silent films; this early endeavor foreshadow and foreshadowed the scale and physicality of his later endeavors, mirroring the transformative power of bringing imaginative concepts into tangible form. In 1920, Schmidt inherited five acres of land overlooking Ohayo Mountain, establishing a base for what would become his lifelong obsession.
The genesis of “The Miracle on the Mountain” occurred as Schmidt began to expand upon the landscape he called his own. What started as a simple cabin built of railroad ties evolved into an architectural labyrinth that defied conventional logic. Using found objects, recycled materials, and debris, Schmidt constructed a sprawling complex that climbed the face of the mountain. His work was not merely construction; it was an organic growth of stone, wood, and tar that integrated deeply with the earth itself.
As the decades progressed, his creation expanded to include:
This process was one of continuous, obsessive expansion. The structure became a living entity, demanding more material and more labor, driven by a spirit of exploration that Schmidt himself encapsulated in the name of his first home, "Journey’s End."
Despite the physical grandeur of his work, Schmidt's life was marked by both profound creation and sudden tragedy. In January 1968, a devastating fire swept through the structure, consuming much of what he had built with roofing tar and reclaimed wood. The loss was immense, yet the spirit of the "Miracle" remained etched in the landscape and the memory of the Woodstock community. His work gained national recognition, even being featured in a photo essay in the Saturday Evening Post in 1964, bringing his mountain masterpiece to the eyes of the wider American public.
Today, Clarence Schmidt is remembered not just as a builder, but as a pioneer of environmental sculpture. His ability to see potential in the discarded and to transform a singular hillside into a legendary monument ensures his place in the pantheon of American folk art. He remains a symbol of the power of the individual vision—a man who, through sheer persistence, turned a patch of New York earth into a dream made manifest.
1897 - 1978
최신 미술 뉴스, 특별 혜택 및 인테리어 아이디어를 가장 먼저 만나보세요.
프로젝트에 대해 알려주시면 저희 미술 전문가들이 맞춤형 아트 제안 3가지를 전달해 드립니다.
당신만을 위한 맞춤형 옵션 3가지를 무료로 추천해 드립니다!
미리보기
프린트 구매
공유하기
공유하기
상세 정보
다운로드
유사 작품
X-레이
슬라이드 쇼
더 보기
유리 옵션은 110cm 미만 크기에서만 선택 가능합니다.
