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Autumn Landscape

Designer Attributed to Agnes F. Northrop American
1923–24
On view at The Met Fifth Avenue in Gallery 700
A tour de force in its medium, this window, executed late in Tiffany’s career, portrays the late afternoon sun filtered through rich autumnal foliage. It was probably designed by Northrop, who was known especially for her landscapes and flowers. No paint was used to add detail; rather, the modeling, texture, and form were created solely with glass, using the full range developed at Tiffany Studios. The variegated surface was made by wrinkling glass in its molten state. Different color effects were achieved by embedding tiny, confetti-like flakes of glass in the surface. Plating—the superimposition of several layers of glass on the back of the window—added depth. Although commissioned in 1923 by Loren D. Towle for the stair landing of his enormous neo- Gothic mansion in Boston, the window was never installed. In 1925, Robert W. de Forest, Tiffany’s close friend, donated the window to the Museum, where he was president and founder of the American Wing.

Artwork Details

Object Information
  • Title: Autumn Landscape
  • Maker: Tiffany Studios (1902–32)
  • Designer: Attributed to Agnes F. Northrop (American, Flushing, New York 1857–1953 New York, New York)
  • Date: 1923–24
  • Geography: Made in New York, New York, United States
  • Culture: American
  • Medium: Leaded Favrile glass
  • Dimensions: 132 x 102 in. (335.3 x 259.1 cm)
  • Credit Line: Gift of Robert W. de Forest, 1925
  • Object Number: 25.173a–o
  • Curatorial Department: The American Wing

Audio

Cover Image for 3805. Autumn Landscape

3805. Autumn Landscape

Gallery 700

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This Autumn Landscape window presents a breathtaking array of glowing color and rich surface textures that achieve the nuances of painting. Tiffany developed a new type of glass, with variegated colors, often iridescent with a variety of textures. He incorporated virtually all available kinds of glass and techniques to achieve the amazingly realistic effect of this window.

To create the naturalistic details of the foliage in the vibrant hues of autumn, Tiffany used confetti glass, embedded with tiny flakes of various colors. He achieved the misty quality of the distant mountains by plating several layers of glass on the reverse. A clear river rambles and flows over stones simulated by marbleized glass. And the movement of water in the foreground is enlivened by the use of a rippling surface.

The Gothic tracery design of the wooden frame was dictated by the style of the massive neo-Gothic manor house for which the window was made. But the subject matter is distinctly American. It is emblematic of the “river of life,” a theme that was often used in memorial windows for churches and mausoleums. This magnificent view of nature reflects Emersonian transcendentalism, the belief in a higher reality that can be intuited, but not experienced empirically or rationally.

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