El Rio de Luz (The River of Light)
1877
National Gallery of ArtOriginal work, 1857
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Frederic Edwin Church — Niagara Print
Niagara’s broad fall of water fills the canvas beneath shifting clouds. Church contrasts the pale cascade with dark rock and warm light on the horizon.
A fine-art giclée reproduction on 200 gsm uncoated paper. The complete composition is presented with a white paper border. Choose from the available sizes and unframed or framed finishes.
£19.50
From museum archives. No recolouring, retouching or AI enhancement.
UK delivery. Unframed £4.99, free from £50. Wood-frame delivery included.
Paper, size & framing
Fine-art print on 200 gsm enhanced matte paper. Measurements are the paper dimensions, including the white border. Framing adds to the overall dimensions. The artwork keeps its approved composition within those margins. White, natural and dark wood frames are ready to hang with plexiglass.
Our print guideAbout the artwork
Niagara’s broad fall of water fills the canvas beneath shifting clouds. Church contrasts the pale cascade with dark rock and warm light on the horizon.
A fine-art giclée reproduction on 200 gsm uncoated paper. The complete composition is presented with a white paper border. Choose from the available sizes and unframed or framed finishes.
- Artist
- Frederic Edwin Church
- Artwork
- Frederic Edwin Church — Niagara Print
- Date of work
- 1857
- Museum collection
- National Gallery of Art
About Frederic Edwin Church
American · 1826–1900
Frederic Edwin Church was born in Hartford, Connecticut. With support from his family and the collector Daniel Wadsworth, he became a pupil of Thomas Cole. That apprenticeship connected him to the landscape tradition later known as the Hudson River School. Church developed an ambitious combination of close natural observation and panoramic composition, bringing exceptional detail to pictures of immense scope.
Travel expanded Church’s subjects beyond the northeastern United States. His journeys in South America and elsewhere supplied sketches and studies for major paintings. Niagara and The Heart of the Andes drew large audiences, turning a landscape painting into a public event. He combined knowledge of individual plants, rocks and atmospheric effects into scenes with a remarkable sense of unity.
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