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American Paintings from the Metropolitan Museum of Art

This exhibition

dedicated to the

is

James 1

J.

Rorimer

905'-i

966

memory

of


Library of Congress Cataloeue Card No. 66-

I

1293


•j(

American Paintings from The Metropolitan Museum of Art )c

Los Angeles County

Museum

Lytton Gallery

June

3 -

July 31,1 966

of Art

M. H. De Young Memorial Museum San Francisco

August

i

6

-

October 16,1 966


THE DE YOUNG MUSEUM SOCIETY BOARD OF DIRECTORS Mrs. Carl Livingston, Chairman Mr>. Thomas R. Dwyer,

MEMBERS AT LARGE Mrs. Robert Watt .Miller .Mrs.

G. Grace Benoist

Mrs. Robert A. Magowan, Second Vice-Chairman

.Mrs.

James Bodrero

Mrs. Robert P. Bullard, Secretary

Mrs. Hiliyer BrouTi

Mrs. Gunther R. Detert, Treasurer

Mr. Hugh

Mrs. James B. Black,

Mrs. Richard P. Coolev

First

Vice-Chairman

Jr., Assistant Treasurer

.Mrs.

j.

Chisholm,

Jr.

Sheldon G. Cooper

Mr. Christian de Guigne .Mrs.

.Mr. .Mrs.

M. H. DE

YOUNG

Randolph A. Hearst

.Mrs.

R. Lent Hooker

.Mr.

Jack R. .McGregor, Director Phillip

J.

Carlson, Executive Secretary of the Board of Trustees

Rene-Yvon-Lefebvre d'.Argence, Chief Art Consultant for the Avert

Brundage Collection

Jr.

Lawrence Harris

.Mrs.

.ME.MORIAL .MLSEU.M

STAFF

Lawrence Ford Spencer Grant,

Marco

Hellman

F.

.Mrs.

Walker

Kamm

.Mrs.

John

Logan

.Mrs.

James

S.

Ludwig

J.

.Mrs. .Marshall

Madison

Mrs. Peter .McBean

.Alden S. .Murray. Curator of Painting

.Mrs.

William H. .McKlerov

D. Graeme Keith, Curator of tiecorative Arts

.Mrs.

John .Menzies

Edwin

F. Carter, Curator

Mrs. Kenneth .Monteagle

Elsa S.

Cameron, Curator of Education

Clarence Shangraw,

Kent Kessinger,

and Librarian

.Assistant

Registrar

Curator of Oriental Art

Mrs. Paige .Monteagle Mrs. E. Geoffrey Montgomery-

Mr. William

S.

Richer

Mrs. John T. Pigott

Mr. William A. Pomeroy Mrs. Richard

S.

Rheem

Mrs. Charles Thieriot Mrs. Henry Wagner,

Jr.

Miss Else Schilling, Honorary Director

Mrs. John

J.

Gardiner, Auxiliary Chairman

Mrs. Helene Homan, Auxiliary Auditing Member


LOS ANGELES COUNTY BOARD OF SUPERVISORS

Burton

W.

Chace, Chairman

Frank G. Bonelli Ernest E. Debs

Warren M. Dorn Kenneth Hahn Lindon

S.

Hollinger, Chief Administrative Officer

LOS ANGELES COUNTY MUSEUM OF ART

BOARD OF TRUSTEES Edward W. Carter,

Brodv,

F.

Kenneth Donahue, Acting

President

Howard Ahmanson, Sidney

STAFF Director

Henry T. Hopkins, Chief of Educational

Vice President

Talmadge

Vice President

L.

Services

Reed, Chief of Museum Operations

Mrs. Freeman Gates,

Vice President

William Osmun,

Franklin D. Murphy,

Vice President

Ebria Feinblatt, Curator or Prints and Drawings

Senior Curator

Mrs. Rudolph Liebig, Secretary

Stefania P. Holt, Curator of textiles and Costumes

Maynard

George Kuwavama, Curator

J.

Toll, Treasurer

Mrs Aerol Arnold Theodore

E.

Cummings

Justin Dart

Charles E.

Ducommun

of Oriental Art

Taft B. Schreiber

Gregor Norman-Wilcox, Curator

William T. Sesnon,

Maurice Tuchman, Curator

Jr.

Richard E. Sherwood

Larry Curry, Assistant Curator

Norton Simon

Eugene

I.

Ann A.

Lafierty, Assistant Curator

Joseph B. Koepfli

Mrs. Kellogg Spear

Charles O. Matcham

Mrs. Stuart E. Weaver,

Jr.

oj Decorative Arts

oJ .Modern Art

Holt, Assistant Curator

Gloria Cortella, Administrative

Dorothe Curtis,

Assistant. Curatorial Division

Administrative Assistant. Educational Services Division

Robert Meldonian, Education

Specialist

L. Clarice Davis, Librarian

Frieda Kay Fall, Registrar

Kathrvn Leech,

Assistant Registrar


h(

PREFACE AND ACKNOWLEDGMENTS

)•

Sculpture, Stuart P. Feld, became the mainstay

of the exhibition by providing wise counsel and

reasoned professional judgment

works

in the selection

of

to be included. Associate Curators of

American Painting and Sculpture, Albert

Ten Evck Gardner and Henry Geldzahler, made valuable contributions, each in his specialization,

and

a

score of staff

own

area of

members

provided photographs and catalogue information

and prepared the paintings for shipment, even

During the past two decades, Californians been given ample opportunity to nuance of the technical and of post- World

War

every

development

stylistic

American

II

know

ha\ e

art.

and collecting works of this period.

They have had, however,

little

opportunity to

develop an equal appreciation of the rich heritage of earlier American

art.

of Art to lend from

American collection

i

2 f

its

unparalleled

paintings

number

of

them

so they

all

these,

are deeply indebted.

from the early eighteenth century

James

Elliott,

Museum

Chief Curator of the Los Angeles

of Art, and Alden

of Paintings at the de

members of the as

S.

to the first

Young Museum served as

did Larry Curry, Assistant Curator

of American art at the Los Angeles County

Museum of Art, who was

responsible for the

We would like to

express our ap[)reciation to the scores of

anonymous museum personnel institutions

World War.

Murray, Curator

organization and selection

preparation of the catalogue.

which

exemplify the scope and quality of American art

we

committee,

Consequently, the

sponsors of this exhibition asked the Metropolitan

Museum

a

could be shown to best advantage. To

Thev

have responded with overwhelming enthusiasm in studying

completely restoring

whose

in all

three

individual contributions

were

essential to the presentation of this exhibition.

The response of the Metropolitan Museum far

staff

exceeded our expectations. The Director,

James

J.

Rorimer, generously gave

advice in the

initial

his

time and

planning of the exhibition.

Associate Curator of American Painting and

Jack R. McGregor, Director

M.H. de Young Memorial Museum Kenneth Donahue, Acting Director Los Angeles County

Museum

of Art


6 7

•Stable of

contents

)«•

6

Preface and Acknowledgments

8

Introduction

1

Explanatory Notes

1

Plates

142

Index

144

Colophon


were secondare

•4lNTRODUCTION>

;

vet,

working

in a

new

societv in

an isolated world, thev pro\ed equal to adversitv.

Their achievement

is

to understand. Earlv

unique and, perhaps, not easv

American works of

art

seem

to invite generalization and simplification, so that

their essential qualitv often escapes even the most

competent

critics.

Some over-emphasize

the nai\e

or homespun factor, while others see onlv vincial reflection of

European

art.

a pro-

The truth

lies

somewhere between these opposite views. Certainlv, there is a somewhat forthright, rustic qualitv in some of the greatest examples of .American paintings, as in the masterpieces of Winslow Homer, but Homer's work is afar cr\' from that of the primitive limner. The work of expatriates such as James McNeill Whistler, John Singer Sargent and.Marv Cassatt is certainlv derivative, but artists working here could never hope to emulate European paintIn the

seventeenth centur\ the

first settlers

on the

Eastern shores of America found the countrv" in an

ers to such an extent. Native artists

abroad usuallv had developed

who

studied

a distinctive personal

almost pre-Columbian sta^e. Faced with the basic

stvle before dejiarting;

problems of

came home disapproving of what thev saw

survival, thev

pacity for self-go\

e\en

showed an amazing

emment and

as thev struggled to

self-discipline,

ca-

and

provide themseKes with

the basic necessities of food, shelter and clothing,

new culture beaan to e\olve. In of rapid progress on the economic, social and

furthermore, thev often in for-

eign studios.

The development

of the artistic tradition

which

was to provide the pictures for the homes

of the

the pattern of a

earlv

landowners and merchants was scarcelv

less

spite

difficult than the creation of the societv itself.

For

political levels,

over a hundred vears passed before

an artist could function. Because art tarian, it

is

not

utili-

had to wait for the pre\alent dis|X)sition

to practicalitv" to be softened

somew hat bv a p>eriod

of relative e^e and plentv. The Puritan's aversion to

works of art had

life in

as

the colonies as

much

it

sode which took place

had

basis in his

own

dailv

in the iconoclastic epi-

a long

time painting was limited to the eftorts of

who

the craftsman or artisan

coaches, gun carriages,

fire

painted or decorated

buckets, funeral hatch-

ments, signboards for inns oran\t:hing that wanted the touch of a skilled brush.

something approaching

When

the

demand for man was

fine art arose, this

the logical choice for the job, and whether he suc-

depended

upon

own

Church of England. He probably objected not so much to the works themselves as to the wanton luxury- or vanitv which

ceeded or

failed

abilitv. In

order to achieve anything bevond the

thev might imply.

to find

As the

first

colonies were being established in

-'\merica the great

flourishing.

in the

Baroque painters of Europe were

Their art was a continuation of an un-

broken tradition of several hundred vears. The

first

American painters could not participate directlv in European culture, and the sources of their art

realm of primitive or folk

some source of

largelv

his

art, aspiring artists

had

instruction. Since there

were no academies, they were forced to develop their art as best thev could on their own, making use of the meager examples of European art available to them. tlers

A few

of the more aristocratic

had brought with them to the

set-

New World

treasured familv portraits. These were extreme!


rare,

however, and rarelv seen bv the native

painters ists

who

When

could beneHt from them.

from Great

art-

Britain and the Continent began to

arrive in verv limited

numbers

beginning of

at the

the eighteenth century, their advice and examples

work were

of their

a very few.

helpful to a few, but again, only

Probably the most important sources of

development tor native

artists in the

eighteenth

century the mezzotint engravings after English pictures

which found

their

wav

to the colonies in

Van Dyck, Peter Lely and Gottfried Kneller

When

basis tor

its

make

use ot the

the generally distrustful attitude toward art

artist,

caused him to accept only the most practical torm

on the

effect

is

it

At any

so similar to the basic native

is

typical of

works by the untrained

rate,

period.

• • • • •

portrait continued to be the mainstay ot the artist

Smibert.

rative, but

was an ex-

was not only deco-

documentary, perpetuating the image

of the sitter for following generations ot the family tree,

and often indicating

yond mere

practicality,

his station in

Be-

life.

however, there was

a

greater force operative in the primacy ot face

all,

tion.

There,

He

in

America was John

in

arrived from England in 1729 with

who came

Bermuda. The project Boston where

to establish a College

failed

his studio

and Smibert settled

and "colour shop"

(which he had to maintain to earn

came

a

a living) be-

center for the study of art. As important to

the development of

himself and his

American painting

work was

as the artist

his collection

of prints

and copies after the old masters, sought out and

essentially that

studied by such major Hgures as John Singleton

of England, where painting had been limited

most exclusively

Knelleresque style

Bishop Berkeley in

and most important exponents

of the earliest

The source

painting, that of cultural inheritance.

of colonial painting was, after

artisan

by the early eighteenth cen-

when art began to attain more significance on American scene, the major source of American painting was the Leiy-Kneller style of the later

One

it

Medi-

this

the

of the

as

its

World.

difficult to evaluate in specific pic-

tures because

limited almost exclusively to portraiture, and the

tremely useful form ot art

had

it

New

Very often, however, the influence of eval quality

teenth centuries the American tradition ot art was

It

period, and

portraits of the

first

of art, the portrait. In the seventeenth and eith-

well into the nineteenth century.

com-

tury

composition.

the colonist did begin to

Tudor

style of the earlier

painters.

provided the

of the early colonists

from the outlying areas of England were undoubtedly familiar with the lingering Medieval

match

possible to

ar-

to establish

ing

an American painting with the exact print which

it is

Many

the Baroque style.

element

increasing numbers. Often

from the Continent

rived in England

to portraiture since the

al-

Reforma-

as in the colonies, religious subjects

and "fancy pictures" were extremely consideredalmost blasphemous toran

rare.

It

artist, a

was

mere

human

being, to attempt to depict the di\ initv in-

herent

in

the themes of the Scripture, and the cre-

Copley, Charles Willson Peale and Washington .Allston.

One

of

Smibert's

more

sitions, Mrs. Francis Brinley and

elaborate comj^osi-

Her hfant Son (no. c) 1

includes standard devices of the period such as the

window, urn and draperv. The picture elegant as

achieved

its

is

not as

English sources but the artist has

a rather

Hrm

grasj) ot

character

in

the

ation of an image for the sole purpose of visual or

head of Mrs. Brinlev. During the next hundred

esthetic pleasure was equally unthinkable.

years, a

As

late as

the Elizabethan period, Isaac Oliver

and Nicholas Milliard were

still

Medieval tradition, painting their linear style

working

in

a

sitters in a flat,

which denied the existence

of the third

dimension or any suggestion of physical

vitality.

This tradition gave way only gradually as Anthonv

keen insight into personality would be

the salient quality of

Besides

a

number

American portraiture. of artists largely unidentified

portraying the families of the wealthy Dutch patroons ot the Hudson, there were others

who

[)ainted along the coast in the Knellerescjue style:

Henrietta Johnston and Jerimiah Theiis

in C

harles-


ton, Charles Bridges at Westover, Justus Engel-

hardt Kiihn at Annapolis, Gustavus and John Hesselius at Philadelphia,

Feke

at

death

in

John Greenwood and Robert

Boston and elsewhere. After Smibert's i

7

5^

i

,

the principal artist working in Boston

was Joseph Badger. A native born artisan whose trade was house and sign painting, he is tvpical ol

who worked

those

in isolation

without the beneht

of European experience. Though his art must have profited

much from contact with Smibertandlamil-

iaritv

with that

vance

much bevond

work, he was unable

artist's

to ad-

the level ol primitive limner.

which was the

basis of success for

now made

Wollaston,

Blackburn and

very profitable en-

art a

deavor. Indeed, Copley could devote to the

development of his

all his

time

and become wealthy

There was much more involved

in the process.

his great success,

his great

work

reflects,

than anything else, his native genius, and as

became gradually more

the cultural soil of .America fertile, this

genius was bound to flower. In terms

of sources, his experience was not unique.

made

in

however, than mere supply and

demand. The quality of

more

art

He

use of prints and pictures generally available

some extent

the colonies, but he was to

Primitivism need not implv inferiority, however,

in

and

leged in this respect, in that his step-father

was the

English trained engraver, Peter Pelham.

When

an occasional portrait such as that of his

in

grandson James Badger, (no.

2

)

his sensitivity

and

7^4, there was no

directness tend to compensate for the obvious

Blackburn arrived

faults.

one better equipped than Coplev

London, the vears following the death

In

of

his

Boston

in

i

manner of

Baroque and the emergence of the elegant, more

Sherburne(no. gc

and surpassed him.

this artist ),

his great gift for

new

taste, established

firm, sure sense of

Thomas Hudson

character are clearly demonstrated.

Rococo

This

style.

and Joseph Highmore, was soon reflected colonies in the

work of such

artists

as

in

the

Joseph

Blackburn and John Wollaston. Blackburn's porof

trait

Man

Sylvester as a Shepherdess (no.

strongly indicative of a

3)

is

of this period would hav e

light

and

his grasp

The

of

portraits

themselves established

in

him as a major figure in the history- of art, but he was not satisfied. In 774 he sailed for Europe to i

begin a

London background and

preoccupation with elegant forms of ribbons,

his

form and

In Joseph

composition, his

the art of William Hogarth,

delicate

to understand

work. He quickly ab.sorbed the new London

Gottfried Kneller in 1723 saw the waning of the

in

in

privi-

It

new

career.

was inevitable

devoted

artists

accomplished and

that truly

such as Copley and

West would

be-

flowers, jewelry and ruffles marks a distinct de-

gin to feel the restrictions inherent in the Ameri-

parture from the stvle of Smibert. As important as

can scene. After a time prints and the example of

new example was

this

however,

its

to be to the native artist,

assimilation took time, and the old

manner lingered on. A selius,

case in point

son of Gustavus Hesselius

who

is

John Hes-

had brought

lesser artists

to

them

strict

as a

from London were no longer source of

real instruction,

adherence to the portrait

mate subject began

to pall.

To

as the

useful

and the

only

legiti-

be the best artist

in

eagerlv adopted

AmericawassimpKnot enough. The standard books on the theory and practice of art afforded them a

the fashionable stvle of Wollaston, vet from time

tantalizing glimpse of the grand tradition of Euro-

the Baroque formula to Philadelphia as early as I

7

I

I

.

He was among

to time as in

he reverted to

those

who

a rather stark,

simple image

the portrait of the austere Mrs. Richard Gal-

loway (no. 4

).

By the middle of the eighteenth century, the stage in

was

set for the culmination of native painting

the art of John Singleton Copley and Benjamin

West. The ever increasing demand for portraits

pean painting, which dealt

ith

vv

the great subjects

of history, mvthologv and religion. Realizing that

America thev could never approach lime realm of art thev were compelled to in

its

this sub-

travel to

source, to England and the Continent.

Benjamin West was the abroad. Arriv ing

in

Rome

first

in

i

American

to study

760, he immediately


began

program of study which was

a

to

an acknowledged leader of painting

make him grand

in the

style.

Here, he came into contact with the ideas

of the

German

Winckelmann and

scholar

the artist

Anton Raphael Mengs who emphasized the Antique endeavor.

as the basis tor all artistic

He enjoyed

considerable popularity, and gained access to the great collections in in

Italy. In

London, where, with the patronage of George In 1772, the

Trumbull. Gilbert Stuart,

more came

III,

his

King appointed him royal history

who

spent altogether

London

than fifteen years in Dublin and

be-

the great master of the Georgian portrait

America.

His proficiency

Man

such works as

14) and

Green Coat (no.

in a

in

clearly apparent in

is

the Phillips-Brixey George

1763, he settled

he was to be a dominant figure for the rest of life.

all

those of the expatriate Mather Brown, or John

Washington (no.

17C).

• • • • *

The

years of the nineteenth century saw an

first

increasing expansion of the visual arts in the youth-

Museums and

ful nation.

public collections were

became president of the

formed and the establishment of the American

Royal Academy, which he had been instrumental

AcademyofFine Arts, and the Pennsylvania Academy

Thus,

of Fine Art, seemed to confirm the prestige which

painter and in 1792 he

in establishing

only

five years after his arrival

.

the phenomenal transformation of the American colonial into a powerful arbiter of

was complete

in a

European

taste,

remarkably short time. Given

the happy combination of the artist's genius and

such ideal circumstances,

was ahead of

his time.

no wonder that he

it is

thoroughly

In the

Return of the Prodigal Son (no. I

77

I

)

painted about

he already anticipated the Neo-classicism ol

,

Jacques Louis David If

6c

classical

in

France.

West was important

in

development of American

art

his role in the

was more

significant.

came to England seeking them with great generHis studio became in eflect an American

As other colonial

artists

instruction, he received osity.

school

in

London.

Among

those

worked with him were John

who

studied or

artists

Prospects for the

were growing brighter

a greater cultural

more anxious

at

home, but

awareness made them

to study across the sea.

"grand tour" of European

the

all

The standard

galleries

and the

pil-

grimage to London continued well into the century. Standing as

a

bridge between the eighteenth

and nineteenth centuries Sully,

Europe,

had attained.

the profession

young

who adhered

mula more closely than any

work

the

is

to the

of

Thomas

Georgian portrait of his

for-

contemporaries.

His style was based on the romantic portraits of

Thomas Lawrence, which he studied London. The fluid brushwork and the jectivity of The Student (no.

he succeeded

brilliantly

carefully in

intense sub-

19C) indicates

in assimilating

how

Lawrence's

.Singleton Copley,

manner. This kind of romanticism was typical of

Charles Willson Peale, Ralph Earl, Henry Ben-

the period, but in the hands of most of Sully's gen-

bridge, John Trumbull,

brandt Peale artists

in fact, a

represented

in

Mather Brown and Remgreat percentage of the

the present exhibition. Thus,

America gradually gained trained artists

more

familiar with the historical

bases of their profession.

transformed,

a

strong nucleus ol

Thev did not come home all become history

nor did thev

painters. Portraiture continued to be the business at hand,

and commissions were sought vvhere\er

available, their

works

reflecting the results of their

training in varying degrees.

The works of Charles

eration,

it

became tempered with an increasing

tendency toward naturalism. Expression varied

from the keenly observed, spontaneous portrait Alexander Anderson (no.

)

by John Wesley Jar\

of is

immigrant

Chester

Harding and

Charles

Ingham and William Hubard. Toward

the

painters,

the middle of the century portraiture be^an to

wane

as the

painter gave ground

in this field to

the

photographer. The evolution which took place can

Willson Peale, Henry Benbridge and Ralph Earl

be clearly demonstrated

Waldo's

by the English experience than

i

to the more or less osertly romantic but descriptive works of Henry Inman, Samuel F. B. Morse,

seem

less affected

2

\

ital,

in a

comjiarison of Samuel

expressise portrait of General Andrew


workmanlike de-

Jackson (no. 27) with the rather

.Americans were discovering America, and a spirit

optimism pervaded the land. Expansion and

piction of The Knapp Children (no. 28), painted in

ot

collaboration with his assistant, William Jewett.

di\ersification

West's history paintina

the wrand

in

could not be transplanted to the

manner

ru^ed

soil

of

America. John Trumbull was moderately successful

own history, and his work set a

because he depicted America's

the exploits of the Reyolution,

precendent for military painting which dealt in turn

War

with the

of

i

8

the

2,

i

Mexican War

and the

War. But those who were determined to imitate the great machines of London and Paris were doomed to bitter failure. Washington Allston exCiyil

pended

his energ\'

on the great

Belshazzar' s Feast

(Detroit Institute of Fine Arts) which was neyer finished,

with

his

and Rembrandt Peale struggled for years enormous Court of Death (Detroit Institute

of Arts), but was forced in the end to concentrate

on repetitions of

ot George Washington (no.

30).

could not succeed, howe\er,

it

i

826

a

emy

of Fine

Samuel

and under the leadership of

.Arts

Morse founded the National Academy

F. B.

much more

ot Design. In this

vital institution, a

program of annual exhibitions was ing pictures generally

and students

more

accessible to the public

alike. Artists still

toured Europe, but

toward the middle of the century Dusseldorf be-

came

the great center for study.

The

proliferation

now

of prints and illustrated instruction books

made

possible for one to achieve a professional

it

level in painting

without academic training. Land-

scape and genre painting evolved rapidly, with landscape replacing portraiture

in

order of importance.

the eighteenth century, landscape was

In

more than a form of amusement

could proyide the

and their "landskips", adhering to

In

mak-

initiated,

h history painting

impetus for another significant deyelopment.

life,

disgruntled band

of students broke away from the American .Acad-

famous "porthole" portrait

his

extended into every aspect of

including the visual arts. In

formula, had

little

little

for portrait painters, a traditional

to do with nature. The nine-

the hands of Washington .Allston the incipient ro-

teenth century artist approached nature directly

manticism of Neo-classicism was giyen

and saw

sion,

and

in his

work

the nineteenth century

his

own

is

32), he

Girl in Reverie (no.

full

expres-

the Romantic tradition ot

begun.

The Spanish

In

was actually painting

reyerie, for he had ne\er been to Spain,

and the intensely eyocatiye quality of the picture arises entirely

from

his

powerful imagination.

Com-

pared to The Wages of War (no. 3 3 ) by Henry Peters Gray who continues a rather sentimental nostalgia for classical

becomes

all

the

more

grandeur, Allston's

work

significant.

• • • • • During the second quarter formed.

It

ot the nineteenth cen-

was the age of Jacksonian Democracy

common man

",

who proyed

to be a rugged, self-reliant individual.

As techno-

logical

advance revolutionized industry, transpor-

tation

and agriculture, an ever expanding increas-

ing population

moved westward, pushing

lessly against the wilderness. In a

as

the manifestation ot pure

at

once extremely romantic and

tive response to the

relent-

very real sense.

life

force

realistic, a sensi-

drama of American scenery

based on careful observation at times \erging on the scientific.

The

artists

expeditions to the great

who accompanied

West or

travelled

the

beyond

the frontiers alone often functioned as naturalists,

reporting

all

the

wonders which

but many ot them such

this land

had to

George Catlin and Alfred Jacob Miller brought back works of great

offer,

as

esthetic significance. John James

tury the face of America was being rapidly trans-

and the "rise of the

it

or divine will. The image which he produced was

Audubon tramp-

ed the wilderness alone for long periods studying the birds and animals of

America

horj -billed Woodpeckers (no.

34)

at first hand. is

The

typical of his

enormous production. The spirit of his work is carried on in the work of the animal painter, Thomas Hewes Hinckley, whose Rabbit Hunting (no.

3

f

)

includes elements of genre and landscape.

Great distances did not need to be covered, however, in order to find great scenery.

The Hudson


.

Valley provided

boat

some

anywhere

to be found

oi the in

most inspiring views

the world, and as steam-

on the river increased,

traffic

readily accessible.

it

became

By the second decade

artists

trained as engravers (as was often the case) began to publish portfolios of views

in

series.

These

tended to be rather formal and topographical

in

nature, like the later View of the Baj and City of

New

York

.

.

.

Robert Havel I, but by

(no. 36) by

the third decade the major pioneers of the land-

movement Thomas Cole and Asher Brown

scape

Durand, had begun to

set the historical standards

"Hudson River School." Both Cole and Durand worked in

tinued

the

,

portant as a center of interest. Artists began to

look further afield, and

and endless

tains

Albert

Bierstadt,

The

Keith.

only his

first as

engravers,

Europe where they were more

in-

Cole's The KoKo^eo/^Li/e and similar allegorical subjects painted in series after his first trip

In

abroad are

monuments of RomanAmerica, and the expressive power of

the most important

carries into his depiction of landscape.

The Mountain Ford (no. 38c) he creates an

al-

German

this

East.

West

whose paintings Durand studied in the galleries ot Europe. During the following years, other artists involved in this

movement, notably John Kensett,

Worthington Whittredge and Sanford Giftord developed an intense interest

in the

observed eflects

of sunlight, with the result that their increasingly naturalistic. pressionists,

work became

Unlike the French Im-

however, they were not interested

in

the phvsical analysis of light as such. Their response to nature

remained essentially subjective

as

they

sought to capture the poetic or dramatic luminositv ot their subject.

The latter half of the nineteenth century saw some significant changes in the tradition of land-

became more

artists

ambitious the scale of their canvasses expanded

in

proportion, encompassing? more and more of the

•••

Ik-

painting has never been as prevalent in

ing or genre

of Claude Lorrain

Hum-

the various

Europe and the Near

Indies,

As these expeditionary

nature, but the golden, almost ethereal light per-

work

all

program, he visited Colombia, Equador,

Labrador, the

America

derives in fact from the

to catalogue

kinds of scenery around the world, and in carrying

out

Still

not a natural phenomenon

Church

Alexander von

naturalist,

Church decided

picture, The Beeches (no. 39c) remains faithful to

It

which seems

the dominant concern. Inspired by the books of

mountain scenery. Similarly, Durand's magnificent

is

training at Diissel-

and Martin Johnson Heade, naturalism becomes

obscures the essential quality of the wild

vading the atmosphere

were

great dramatic impact of Bierstadt's

most Wagnerian mood, yet no poetic generalization

foremost

Thomas Moran and William

German background and

boldt,

works

the

dorf, but also a reaction to nature

the great

these

Among

Merced River, Yosemite Valley (no. 4fC) reflects not

ture which had been the basis of study in the past.

tic art in

plains.

West opened up its great moun-

painters recording the splendor of this area

spired by the landscape than by the antique sculp-

among

Far

as the

they could not resist the lure of

peculiarly American. In the art of Frederic

of the

and travelled

"Hudson Riser School" conHudson Valley itself became less im-

scape. Although the

life

as portraiture, landscape, narrative paint;

yet, in spite of this,

importance. Since there was

branch of painting, the

were

usually

standards. life

working

it is

little

who

artists

not without

demand

for this

indulged

to satisfy their

own

in

Like landscape and portraiture,

can be either romantic or

it

esthetic still

realistic, either

sub-

jective or objective, but hardly ever idealistic in

human purpose; theresome of the finest examples

the sense of serving a great fore,

it is

significant that

of this art were produced by the Peale family as early as the second decade of the nineteenth cen-

tury

when

classical antiquity

was

to nature as motivation for art. cjuality,

James Peale's

\'e(]etahles

some

(no.

Still Life:

goc) has

much

just giving In spirit

way

and

in

Balsam Apple and in

common

with

of the best of the earlv landscapes.

F\()l\ing almost simultaneouslv with landscape,


common man

genre painting celebrated the jacksonian democracy. as

works

of

broad design of

works he did not neglect the

his

of artists such

the subtle nuance of light and tone, so that even a

George Caleb Bingham, William Sidney Mount

small picture such as Snap the Whip (no. 65^0) at-

In the

and Richard Caton Woodyille, three of the major

tains a

earlier

composi-

exponents of the school almost eyerv aspect of daily

tion. The Veteran in a .\ew Field (no. 66)

becomes

,

life

portrayed %yith great affection and under-

is

almost

monumental a

An

quality.

tour de force of simplicity. Eakins shared

standing. These artists understood their subject

this

well, because they were themsehes products of the new democracy. Many of them were essen-

proach differed considerably. To him, the mind

good sound

relying heayily on

tially self-taught,

tendency toward bold simplicity, but

was more important than the eye, and its

his ap-

his art has

thorough program of scientific inquiry.

basis in a

draughtmanship and the laws of traditional com-

A modern

position set forth in the instruction books of the

technology available to him, attending medical

period. In the latter half of the century the genre

school to perfect his knowledge of anatomy and

style

became generally more atmospheric and

real-

the impact of European training began to

istic as

manner

register. This painterly

typical of the

is

works of Eastman Johnson, John G. Brown, Henry Mosler, Frank Waller and Edward L. Henry.

later

In

John Ferguson Weir's Forging

the Shaft (no.

6oC),

Leonardo, he made good use of the

devising his

own camera

to record the

Academy, he

The

insisted

part from his careful study of Ribera and Velasquez Spain, and this quality continues in

some of his

formed

most articulate anatomical studies such

remarkable

firelight penetrating a yast

gloomy

interior. Here,

the expansiyeness of depicted space lated to the in this

is

directly re-

ample dimensions of the canyas, and

respect the picture

nineteenth centurs

.

typical of the later

is

Like the artists Bierstadt and

Church, the genre painters increased the of their pictures to give them

more

more scope and

to

closely approach the actual scale of their

subject. Last

size

The

Thomas Hovenden's Brown (no. 63 ), become all

figures in

Moments ojjohn

as

such or

more

intent

pearance of nature in

Europe, but

them

as it

upon

of Homer, Eakins and

painters, Harnett,

and Peto,

was accompanied by the ultimate development of romanticism

at the

other end of the spectrum. The

real world begun bv Allston works of John Quidor and Elihu

withdrawal from the progressed

in the

Vedder whose

subjects are often

remote

in

time

decade of the nine-

teenth century, Ralph A. Blakelock and Albert P.

style

in spirit.

By the

last

Ryder were completely committed

to the mystery

of the inner mind. In the case of these artists,

how-

ever, tradition must not be over-emphasized, for

thev are essentially dreamers

world and make

art

who

conform

to

invent their it.

own

While osten-

sibly painting a landscape, Blakelock could

spend

months scraping, rubbing and brushing the surface

meets the eye. Both studied

of his picture, searching and hoping for the elusive

setting

of independence caused

to reject any influence is

down

in the art "

the ap-

a spirit

their purpose. This

concerned with

The culmination the "fool the eye

the

perhaps the trompe Voeil painters, William Harnett less

(no. 69).

and alien

of American painting, except

and John Peto, have been

as Arcadia

The

more real as thev approach life size. The culmination of realism occurs in the art of Winslow Homer and Thomas Eakins. No other artists in the history

exem-

Pushing for Rail (no. 68c), derives in

plified in

in

a

fig-

on the use of a nude model.

painterlv quality of his earlier work,

an unusual industrial subject, the artist has perfeat in realizing the effect of

human

ure in motion. As a teacher at the Pennsylvania

which did not serve

not to imply, however, that

they were completely alike.

Of

the two.

Homer

was given more to generalization, but within the

quality of his private vision, and in the

Ryder

same way

lived with his pictures for long periods re-

them as his inspiration dicWorking with a wider range of subjects, Ryder is the more versatile of the two and seems painting and reworking tated.


)

15

to have greater depth. In his Forest ojArden (no. 77

best that Paris had to offer in terms of training and

he achieves an image which

experience, and took their place

is

at

once timeless

and enigmatic.

More

rank of European

isolated than

Ryder or any of the most thor-

ough independents of the American tradition is the primitive or naive painter. Divorced from trahe depended on nothing more than

dition,

his

innate talent and his proficiency as a craftsman.

make use of instruction books, work of a professional artist, same wav as a living subject, fixing

Generally, he did not

and

if

he copied the

he treated

it

on the most

the

salient features

which could be

tran-

scribed most easily and systematically. His art varied but

it

does not develop

is

cumulative, his-

in a

Working under similar limitations, the "Unknown Hudson Valley Painter", who portrayed the Young Lady with a Rose (no. 78 has much in common with Edward Hicks, the author of a torical sense.

)

hundred years

tribute to nature a

later in The Falls

• * • • • can

went

to

In the seventies,

Europe

in increasing

the center was

numbers.

Munich where

Frank Duveneck and William Merritt Chase developed their characteristic style based on slashing

brushwork and eighties

a

sombre

palette.

During the

and nineties interest was centered

Those who studied there during ever,

were by no means

early as the

fifties,

within

own

his

in Paris.

how-

this period,

setting a precedent. As

William Morris Hunt had

re-

Edgar Degas.

In the

studio of Carolus-Duran, Sar-

gent developed a direct, broad stroke that was to

him throughout

serve

his life.

Childe Hassam, Ju-

Alden Weir, John Henry Twachtman, Thomas

lian

Wilmer Dewing and

others returned to America

with an Impressionist style that was to carry well into the twentieth century.

The overwhelming in

the

American

influence of European teaching

art almost

been even

in

more

pro\ incial than

siderable influence in the early

Farge, and other artists

the century the National

were

who

work

of

a

al-

con-

John La

had been associated

William

Academy had become

Glackens,

and Arthur

^ast

B. Davies, as

a very conservative,

in

and personal way. The great

expatriates of this period, James McNeill Whistler,

Mary

Cassatt and John Singer Sargent absorbed the

Sloan,

John

they emerged to be-

gin their assault on public taste.

The dream-like

landscapes and

figures of Davies are essentiallv ro-

mantic, and

the

in

works of Lawson and Prender-

gast.

Impressionism lingers on. The other

their

number, especially Henri, Luks and Sloan,

were the sylvania

real radicals.

Having trained

five of

at the

Penn-

Academy under Eakins's successor, Thomas

Anschutz, they were well grounded

this tradition

was

apjilied to a

new

in

New

the

York,

kind of subject

matter, the crowded slums of the lower Fast Side. It

is

ironic that Arthur B. Davies, the

most con-

servative of the group, was to be the princip.il

Colman, Alexander H. Wyant and George

gan to reflect the impact of Impressionism, but

situ-

Group, Robert Henri,

George Luks,

New York

Inness.

a

Everett Shinn, Ernest Lawson, Maurice Prender-

organizer of the great

works of Homer D. Martin and Inness be-

had

bastion of conservatism reflecting the lessons of

with the Hudson River School, including Samuel

late

it

Colonial times, and by the turn of

realism of the nineteenth century. In

The

made

years of the nineteenth century

last

P.

his surprise that their pictures

fol-

of her friend

turned to Boston expounding the doctrine of Jean

ready being imported there. This school had

first

personal style while Cassatt

lowed more closely the examples

Francois Millet and the Barbizon painters, and

found to

the

mantic, transformed the elements of Impressionism

ation confronting the Eight

the end of the nineteenth century Ameri-

artists

among

Whistler, always the ro-

Gerome, Fortuny and Bonnat. This was the

of Niagara (no. 83c).

Toward

artists.

Armory Show

of

1915

in

which introduced twentieth century

European Art and revolutionized American painting. I

AKKV CllKKY


l6

•»(

EXPLANATORY NOTES

)<•

numbers followed bv the

In

the text and index, catalogue

in

dimensions given, height precedes width.

letter

"c"

refer to pictures reproduced in color,


17

JOSEPH BADGHR, .708-1769 James Badger Dated

i

760

Oil on canvas, 42

J4

X }i'^"

Rogers Fund, 1929


iS

JOSEPH BLACKBURN

(active in

Mary

America

Sylvester

Painted about

i

7 5^4

Oil on canvas, 49 h x 40-

3 /

1

6"

Gift of Svlvester Dering, 1916

1

7 f4-

1

76

3


19

JOHNHESSELIUS, 1728-1778 Mrs. Richard Galloway,

Dated

i

Jr.

764

Oil on canvas, 36K x jo"

Maria De Witt Jesup Fund, 1922


<7> BENJAMIN WEST, Omnia

Vincit

i

7

3

8-

Amor, or The Power of Love Painted about

Oil on canvas,

i

yoH

8

x

i

1

8

20

in the

i

80M"

Maria De Witt Jesup Fund, 1923

Three Elements


An CHARLES WILLSONPEAI.E, Mrs. Samuel Miftlin

1741 -1827

and Her Granddaughter Rebecca Painted in

i

Oil on canvas,

777-1 780

49^

x 39^"

Egleston Fund, 1922

Mittlin Francis


HENRY BENBRIDGE,

i

744-

Mrs. Benjamin Simons Painted about

i

77

i

-

1

Oil on canvas, Zg^s x

II

77 2 f

Fletcher Fund, 1929

3

1

8

i

2


23

RALPH hARL, 17^-1801 Mrs. Noah Smith and Her Children

Dated 1798 Oil on canvas,

6}K

x

8^H"

Gift of Edgar William and Bernice Chrysler Garbisch,

i

964


H

UNKNOWN PAINTER Jonathan Dwi^ht Painted about

i

I

790- 800 1

Oil on canvas, i^'A \ iby^" Gift of Barbara

Mercer Adam and Charlotte Adam Coate,

i

961


25

MATHER BROWN, Lady with

a

1761-1851

Dog

Dated 1786 Oil on canvas,

Bertram

F.

and Susie

Brummer

49M

x J9J^"

Foundation, Inc.,

Ciift,

1964


26

JOHN TRUMBULL,

17^6-1843

Alexander Hamilton Oil on canvas, Gift of

30K x 24K"

Henrv G. Marquand, 1881


27

GILBERT STUART, 175^-1828 Man in a Green Coat Painted about 1780-1785^ Oil on canvas, 28>^ x 23^"

Bequest of Mary Stillman Harkness, 19^0


28

GILBERT STUART, 17^^-1828 Matthew Clarkson Painted about

i

794

Oil on canvas, 36 H x

2

8x"

Bequest of Helen Shelton Clarkson, 193!

rifcd


29

GILBERT STUART, 175^-1828 Ann Penn

Allen

Painted about

1

79^

Oil on canvas, 29 x 24"

Bequest of Richard de Wolfe Brixey,

1

94}


30

THOMAS SULLY,

1783-1872

Mrs. Katherine Matthews Painted in

i

Oil on canvas,

8

i

2 -

1

8

lyHx

i

3

i^yi"

Rogers Fund, 1906

,


3'

THOMAS SULLY,

178J-1872

The Rosebud Dated 1841 Oil on canvas, 23?^ x i^yi"

Bequest of Francis T.

S.

Darley, 1914


32

JOHN WESLEY JARVIS,

1780- 1840

Alexander Anderson Painted in

i

8

1

f

Oil on canvas, 34 x 27" Gift of Robert

Hoe, 1881

I


33

jOHNSMIBHRT,

1688-1751

Mrs. Francis Brinley and Her Infant Son Painted about

i

73

i

Oil on canvas, 50 x jgK"

Rogers Fund,

1

962


34

^22).

HENRY INMAN,

i

801-1846

William Charles Macready Painted about 1827 Oil on canvas, 3o'4 x

Rogers Fund,

i

2

^"

906

J


35

SAMUEL FINLEY BREESE MORSE, Mrs. Danii'l

De

1791-1872

Saussure Bacot

Painted about

i

820

Oil on canvas, jo x 24^"

Morris K. jesup Fund,

1

9 ]o


36

JOHN SINGLETON COPLEY,

1738-181?

Joseph Sherburne Painted about

i

767

Oil on canvas, ^o x 40"

Amelia

B. Lazarus

Fund, 1923


37

BENJAMIN WEST, The Return of the

1738- 1820

Prodigal Son

Painted about 1771 Oil on canvas, 54'j x 6o'ÂŤ"

Maria l)e Witt Jesup Fund, 192}


J8

CHESTER HARDING,

i

792-1 866

Mrs. Thomas Brewster Coolidge Painted about Oil on canvas,

i

828-1 830

36K x 28'

Rogers Fund, 1920


39

•^U)-

CHARLES CROMWELL INGHAM,

lygb-rSbj

Amelia Palmer Painted about Oil on canvas,

djHx

i

f

830 3-9/16"

Gift of Courtlandt f\ilmer,

r

9 ^o


40

GILBERT STUART, 17^^-1828 George Washington

The PhiiHps-Brixey Oil on canvas,

Portrait

2 9 x

2 3

k"

Bequest of Richard de Wolfe Brixev,

i

943


4'

<^9>

THOMAS SULLY, The Student

(Rosalie

1783-1872

Kemble

Sully)

Dated 1839 Oil on canvas,

2

Bequest of Francis T.

3>i x S.

i

9>i"

Darley, 1914


42

.(26).

WILLIAM JAMES HUBARD,

i

807-1 862

Charles Carroll of Carrollton Painted about

i

830

Oil on wood, iS^ix 14^"

Rogers Fund,

i

9

5^6


43

SAMUEL LOVETT WALDO,

178}- 1861

General Andrew Jackson Painted about 1819 Oil on canvas,

2

Rogers Fund,

jK 1

x 21'

906


44

THOMAS COLE,

i

801-1848

The Mountain Ford Dated

1

846

Oil on canvas, 28;; x 40-

Bequest of Maria

De Witt

1

/i

6"

Jesup, 1915^


4?

^^^^^^^V^«

^S ^^'

::k

-'"^^

""''•-?

"^

i^-

u

^

BP^

'i

••-^1

jm^

m

/%^

m

m.^^^^^^^^B^1

:m^''

"

""^^^K^^

:•.

.-

V ju|^^^P^'

41^/

,

^^k 1^

'''"

,>Bl^ ^

/

t^A.:^ >-

r ik m WL

^^^,

V^ '^

W:^

i

P m

...ui^

'

t-ir:-'-' ''

%w0

4

.-^^^ i,-'

^-iws^J

-<?

^

^..<v -

i-

pBj^^

"

'^^

•^39)-

ASHER

BROWN DURAND,

1796-1886

The Beeches Dated 184^ Oil on canvas, 60^* x 48X''

Bequest of Maria De Witt Jesup, 191

^

K-

^


46

^28).

SAMUEL LOVETT WALDO,

i

783-1861 and

WILLLAM JEVVETT,

i

79^-1 873

The Knapp Children Painted about

i

85^0

Oil on canvas, 70 x Gift of Mrs. John

Knapp

Hollins, in

M" 5^7

memorv

ot her husband,

i

95^9


47

i

THOMAS THOMPSON, Scene from the Battery, with

1775/76-18^

a Portrait

Painted about

1

of the Franklin, 74

8 }8

Oil on canvas, ]o x 65"

Bequest of Fdvvard

W.

C. Arnold, 1954

Ciiins


48

ALBERT BIERSTADT,

i

830-1902

Merced River, Yosemite Valley Dated 1866 Oil on canvas, 36 x ^o" Gift of the Sons of

William Paton,

i

909


49

REMBRANDT

PEALH, 1778-1860

George Washington Oil on canvas, 36 x 29"

Bequest of Francos Mead, 1926

J


5째

REMBRANDT

PEALE, 1778-1860

Martha Washington Oil on canvas, 36 x 29"

Bequest ot Frances Mead, 1926


WASHINGTON ALLSTON, The Spanish

Painted

in

1831

Oil on canvas, 30 x Gift of

1779-1843

Girl in Reverie

2

f"

Lyman G. Bloomingdale, 1901

J


p

HENRY PETERS GRAY,

1819-1877

The Wa^es of War Dated 1848 Oil on canvas, 48'4 x 76'i" Gift of Several

Gentlemen, 1873


J3

JOHN JAMES AUDUBON, Fvory-billed

i

78^-1

Woodpeckers

Oil on canvas, ^^'A x

Rogers Fund,

i

2

941

6'^"

8p


S4

THOMAS HEWES HINCKLEY,

i

813-1896

Rabbit Hunting

Dated i8fo Oil on canvas, 40 x 5^4^" Gift of Mrs. F. Livingston Pell, 1943


iS

ROBERT HAVHIL, View of the Bay and

City of

JR., 1793-1878

New York from Mountain Dated

i

House, Weehawken

840

Oil on canvas, 24 x 53"

Bequest of EdwartI

W.

C. Arnold, 19^4


THOMAS COLE, Landscape

1801-1848

— The Fountain of Vaucluse Dated 1841

Oil on canvas, 69 x 49J4" Gift of William E.

Dodge, 1903


i7

^4o)Âť.

ASHFR High

BROWN DURAND, F\)int:

i

796-1 886

Shandakcn Mountains

Dated

18^

Oil on tanvas,

j

2 ?,

x

48"

Bequest of Sarah A. lucllum, 1877


JOHN FREDERICK KENSETT, The Old

i

8

16-1872

Pine, Darien, Connecticut

Painted about 1872

Oil on canvas, 34^3 x 27X'' Gift of Thomas Kensett, 1874


S9

•^42)H

GEORGE LORING BROWN, View

at Amalfi,

1814-1889

Bay of Salerno

Dated 1857 Oil on canvas, n'A x n**" Gift of William

Church Osborn, 1903


6o

JASPER F.CROPSEY, 1823-1900 New Hampshire, Autumn

Mt. Chocorua,

Oil on canvas,

2

8Kx

i^'A"

Painted about 1870

Bertram

F.

and Susie

Brummer

Foundation, Inc., Gift, 1961


6i

•»(44h

WORTHINGTON WHITTREDGE,

i

820-1 910

The Trout Pool Dated 1870 Oil on canvas, 56 x 2j'A" Gift of Col. Charles A. Fowler, 1921


62

THOMAS MORAN,

1

837-1 926

The Teton Range Dated 1897 Oil on canvas, 30 x

45^"

Bequest of Moses Tanenbaum, 1937


63

•^47)^

WILLIAM KFITH,

i8}9-i9i>

Approaching Storm Dated 1880 Oil on canvas, jo x ^o" Gift of Mrs. Scott Scammfll, 19^1


64

MARTIN JOHNSON HEADE,

i

8

i

9-

Hummingbird and Passionflowers Oil on canvas, 20 x 12" Gift of Albert

Weatherbv, 1946

1

904


65

SEVERIN ROESEN

(died about 1871)

Still Life:

Fruit

Dated \H^^ Oil on canvas, 36 x jo"

Rogers Fund,

1

963


66

DAVID GILMORE BLYTHE,

i

8

i

?-

1

86

Corn Husking Painted about Oil on canvas,

i

8 5^0-

^Sgg

24x33 'A"

Catherine Lorillard Wolfe Fund, 195^7

?


67

EASTMAN JOHNSON, Corn Husking

at

Nantucket

Painted about Oil on canvas,

1824-1906

1

27M

Rogers Fund,

i

87

j

x ^454"

907


68

EASTMAN JOHNSON, The Funding

1824- 1906

Bill

Dated 1881 Oil on canvas, 60 M x jS'X" Gift of Robert

Gordon, 1898

J


69

THOMAS WATERMAN WOOD, A

Bit of

War

History:

The Contraband,

i82}-.90}

Tin- Rocriiit,

Dated 1866 Oil on canvas, each 28% x 2014' Gift ofCharles Stewart Smith,

1884

and The Veteran


70

JOHN GEORGE BROWN,

1

8

3

1

Meditation Oil on canvas, 30 x

25^"

George A. Hearn Fund, 1909

-

1

9

1

3


71

HENRYMOSLER, Just

1841-1920

Moved

Dated 1870 Oil on canvas, 29 x jbK'

Arthur H. Hearn Fund,

i9f>2


72

EDWARD LAMSOX HENRY,

i

841

1

9

Old North Dutch Church Dated 1869 Oil on millboard,

Bequest of Maria

i

8

De Witt

x 14' Jesup, 1915^

1


71

HENRY ALHXANDbR,

1860-189^

The Laboratory of Thomas Price Painted about 1887 Oil on canvas, j6 x jo"

Alfred N. Punnett

Hndowmont

F

und, 19^9


74

.(62).

FREDERICK REMINGTON,

1861 -1909

Cavalry Charge on the Southern Plains

Dated Oil on canvas, Gift of Several

i

907 30,'^

x

5^1

'A"

Gentlemen, 191

i


75

THOMAS HOVENDEN, The

Last

Moments

1840-189^

of John

Brown

Dated 1884 Oil on canvas, 77'* x 63%" Gift of

Mr. and Mrs. Carl Stoeckel, 1897


76

^

ROBERT F. BLUM, The Ameva

i

857-1 903

— A Japanese Candy Vendor

Painted about

i

890

Oil on canvas, ijh x 31' Gift of the Estate of Alfred

Coming

Clark,

i

904

».


77

4(66)c

WINSLOW HOMER, The Veteran

in a

1836-1910

New

Field

Dated i86j Oil on canvas, 24 x jS'

Lent bv Adelaide Milton de CJroot,

19^


78

WINSLOW HOMER,

i

836-1 910

Cannon Rock Dated 189^ Oil on canvas, 39-3/16 x 393^' Gift of

George A. Hearn, 1906


79

THOMAS EAKINS,

1844-1916

Arcadia Painted about 188} Oil on canvas, }8i, x 4JH'

Lent bv Adelaide Milton de Groot, 1952


8o

THOMAS EAKINS, Signora Painted

Gomez in

i

901

i

844-1 91

d'Arza -

1

902

Oil on canvas, 30 x 24"

George A. Hearn Fund, 1927

J


8i

<7^y WILLIAM MICHAHLHARNFTT,

i

848-1 892

The Banker's Table Dated 1877 Oil on canvas,

Elihu

8

<

Rf)()r, Jr., (Jif't

I

x 12 <A" unci,

19^^


82

h(48).

FREDERIC EDWIN CHURCH,

1826- 1900

The Parthenon Dated 1871 Oil on canvas, 44- ^j 16 \

Bequest of Maria

De Witt

y2'/%"

Jesup,

i

9

1

f


ÂŤ3

JAMES PEALE, Still

I

ife:

i

749-1 8ji

Balsam Apple and Vegetables

Oil on canvas, lo'A x 26^"

Maria

I)e

Witt Jesup Fund, 1959


84

JOHN FREDERICK PETO,

1854- 1907

Office Board

Dated i88j Oil on canvas,

George A.

2 3

Heam

5^'

x

1

Fund,

9?^ 195^5^


8?

<7iy JOHNQUIDOR, The Wall

1801-1888

Street Gate

Dated

1

8

j j

Oil on canvas, 27'* x 34^*' Gift of

Rov Neubere[er, 1961


86

•^

^SI-

FRANK WALLER, In the

1842-1923

Metropolitan Museum, Cruger Mansion

Dated 1881 Oil on canvas, 24 x 20-

Purchase,

i

895^

1

/i

6"


'

87

i

*""'*~^

M

i

Wr^^^'^r^ '

\

''^^ k.

^^^^^H^^^^H^^UL—jTL^k'

-'

-iM

if

"^^nn ^

J AV

4

-

1

>

/£r

1^

-'lif" V

r

'

r

^lasg

/ i

^'^^^vmm

^^^^^^^^^^^B _^

^wm^mm^^_^^SS

4(60

)(•

JOHN FERGUSON WHIR,

i84i-iq2f>

Forging the Shaft Painted Oil on canvas, Gift of

in ^

1877

2-1/ib x lyi'

Lyman G. Bloomingdale, 1901

si^.

«


88

ELIHU VEDDER, 1836-1923 Roman Girls on the Seashore Dated 1877 Oil on canvas,

i

8x x

f Sk'

Arthur H. Hearn Fund,

195^8


«9

RALPH ALBERT BLAKELOCK, A

1847-1919

Waterfall, Moonlight

Painted before 1886 Oil on canvas, jSw x j6'

Bequest of Eda K. Loeb, 1952


^iSi^a^smssit

glrtiTTWi^

HB-ifa

•)(66)c

WINSLOW HOMER, Snap the

1836-1910

Whip

Dated 1872 Oil on canvas,

i

2

x 20"

Gift of Christian A. Zabriskie, 195^0

J


9"

4(68)c

THOMAS EAKINS,

i

844- 1916

Pushing for Rail

Dated 1874 Oil on canvas, 13 x \o-\j\i>"

Arthur H. Hearn Fund, 191b


92

ALBERT PINKHAM RYDER,

i

847- 1917

Toilers ot the Sea

Painted before Oil on wood,

i

i

884

\'A x

George A. Hearn Fund,

\l" 191

f


93

UNKNOWN HUDSON

VALLHY PAINThR

Young Lady with Dated

I

7

J

a

Rose

2

Oil on canvas, ]2'A \ 27" Gift of Edgar William and Bernice Chrysler Garbisch, 1962


94

ALBERT PINKHAM RYDER,

1847-1917

Forest of Arden

Finished

in

i

897

Oil on canvas,

1

9 x

i

g"

Bequest of Stephen C. Clark, i960

J


9i

EDWARD HICKS, The

1780-1849

Halls of Niai^ara

Dated 182^ Oil on canvas,

}

1

>i

x }8'

Gift of Edgar William and Bernite Chrysler Garhisch,

i

9^2


96

RUFUS HATHAWAY,

i77o?-i822

Ladv with Her Pets

Dated

i

Oil on canvas,

790

34X x 32"

Gift o\ Edgar William and Bernice Chrvsler Garbisch, 1963


97

h(8o).

ERASTUS SALISBURY FIELD,

180^-1900

Ellen Tuttle Bangs

Painted about

1

8 j8

Oil on canvas, j8x x 30' Gift of Edgar William and Bernice Chrysler Garbisch, 1963


98

Attributed to

JAMES PEALE,

Washington Reviewing the Western Army

at

i

749- 8 1

3

i

Fort Cumberland, Maryland

Painted about 1795^ Oil on canvas,

22H

\

i7'/i"

Gift of Edgar William and Bernice Chrysler Garbisch, 1963


99

^82).

FREDERICK KEMMELMEYER The American

(active

1788-1803)

Star

Painted about 1800 Oil on paper, 22 x

1

7K'

Gift of Edgar William and Bernice Chrysler Garbisch,

i

962


EVANS (active 1827-185-4) Tow The Boat Conqueror

JAMES

G.

Dated i8j2 Oil on can%as, 40 x go' Gift of Edgar William and

Bemice Chnsler Garbisch,

i

962


UNKNOWN

PAINTER

Burning of the Sidewheeler Henry Clay Painted about

i

8f 2

Oil on canvas, j6 x 5454'

Bequest of Edward

W.

C. Arnold, 1954


JOHNCARLIN,

1813-1 891

After a Long Cruise

Dated 18^7 Oil on canvas, 20 x 30"

Maria

De Witt Jesup Fund, 949 i


I03

4(88)c

WILLIAM MERRITT CHASH, Still Life:

i

849- 191b

Fish

Oil on canvas, 401* x 45"

George A. Hearn Fund, 1908


I04

WILLIAM MORRIS HUNT,

1824-1879

Sandbank and Willows Oil on canvas, 24 x 42" Gift of Francis

M. Weld, 1938


I05

h(9i)ÂŤ-

WILLIAM MORRIS HUNT.

1824-1879

The Bathers Painted

in

1878

Oil on canvas, j8 x

Morris K.

Jesuji

Fund,

^"

2

r

9 ^b


io6

•492).

JOHNLAFARGE,

183^-1910

Bishop Berkeley's Rock, Newport

Dated 1868 Oil on canvas, 30^4 x

2 5^'^"

Gift ot Frank Jewett Mather, Jr.,

i

949


I07

SAMUEL COLMAN, Defending the

1832-1920

Cup

Dated 1870 Oil on canvas, 30-3/1 6 x bo'*'

Arthur H. Hearn Fund,

1

962


io8

IHRBSHH ^^I^BPC^^^ B^V^^^B^^^S r%^^^BB^|

r>

^^^^^^_^__^_^^^^^^^^^^^^^_

Ufian^M' '_^^^ .

I^^^^^^I^^^^^^^^^^^^^^B

1

^iBffltS^jK^^K

'^'fl^^^^^^^^^^^B

HHlflfr^

^^^^^^^

^H'JBj ^^^^^^Bk*

1

mtM^^:

^

'^^^^1

'.^K^^^^^^m

i. -ScL

vV^^B^^^^^^^^^H

-^^^^H

itt^

^H-fl

IH SB r

'

f" fcj^^^^^^^B

^^^HI^H^^^^R SH^^^^^B

IHHHHHHIHHI^^IH^^B

•»(94)«-

ALEXANDER H.WYANT, An Old

1836-1892

Clearing

Dated 1881 Oil on canvas,

49K

x 37"

Gift of Robert Gordon, 191

2


A9^y HOMER DODGE MARTIN,

1836-1897

Harp of the Winds: A View on the Seine Dated 1895 Oil on canvas, Gift of Several

28K

x

40^"

Gentlemen, 1897


497)^

GEORGE IXNESS,

182^-1894

Spring Blossoms

Dated 1889 Oil on canvas, 30'i x 4ÂŁ^i' Gift of

George A. Heam,

in

memors- of Arthur Hoppock Heam.

i

91


JAMES ABBOTT McNElLL WHISTLER, Cremornc Gardens, No.

2

Painted about 1875 Oil on canvas, 27 x jjH"

Kennedy Eund,

19'

2

i

8

h-

'

9o

?


•»(99)«-

JAMES ABBOTT McNeill WHISTLER, 1834-1903 Harmony

in

Yellow and Gold: Connie Gilchrist, The Gold Girl Painted about 1876-1879 Oil on canvas, Gift of

85K

x 43 >^"

George A. Hearn,

191

i


'

J.

H.

SCHtNCK

'3

(active about i860)

Third Avenue Railroad Depot Oil on canvas, 36X x ^o'/'

Bequest of Edward

W.

C. Arnold, 19^4


I

^ I02

)(•

MARYCASSATT,

184^-1926

Mother and Bov, Painted about 1902 Oil on canvas, 3 2 « x 2 qH"

The H. O. Havemever Collection Bequest of Mrs. H. O. Havemever, 1929


I'y

h(io3)«.

JOHN SINGER SARGENT, The Lady with the

Rose— Charlotte

1856-192? Louise Burckhardt

Dated 1882 Oil on canvas, 84 x 44^"

Bequestof Mrs. Valerie

B.

Haddcn, 1932


WILLIAM MERRITT CHASE, The

849- 191b

i

Hall at Shinnecock

Painted about 1895^ Oil on canvas. 40 ^t x

Amelia

B. Lazarus

Fund,

3

g' i

9

1

3


17

GEORGE

INNESS, 182^-1894

Autumn Oaks Painted

in

Oil on canN-as, Gift of George

I.

1

2

1

87^ 'Âť

x joh'

Senev, 1887


ii8

JOHN SINGER SARGENT,

18^6-192?

Alpine Pool Painted about

i

9

1

2

Oil on canvas,

27M x 38"

Gift of Mrs. Francis

Ormond,

195^0


1

19

•)(io6)f

CECILIA BEAUX, 18^^-1942 Mr. and Mrs. Anson Phelps Stokes Painted about 1898 Oil on canvas, 72 x 40" Gift of the Family of the Rev. and Mrs.

Anson Phelps Stokes, 196^


I20

•j(

ioo)c

THEODORE ROBINSON,

18^2-1896

Gi\ernv: Bird's-Eve View-

Dated 1889 Oil on canvas, 26 x ^I'a" Gift of

George A. Hearn, 1910


^ lOl

)«•

MARYCASSATT, Portrait of a

1845-1926

Young

Ciirl

Painted about 1900 Oil on canvas, 29 x 24'*"

Anonymous

Gitt, 1922


CHILDEHASSAM, 18^9-193^ Union Square, New York, Dated 890 i

Oil on canvas,

i8h\

Gift of Miss Ethelyn in

memory

18

V

McKinnev

of her brother, Glenn Ford McKinney, 1943


23

n^"A

'

'^tmifW-':

s

*»v :^

&» ,:.

H(io8)e

CHILDE H ASSAM, i8f9-i9U Isles

of Shoals

Dated 1901 Oil on canvas, Gift of

2

5

x jo'

George A. Heam, 1909


124

JOHN SINGER SARGENT,

i8f6-i92f

Edward Robinson Dated

i

903

Oil on canvas, gb'A \ 36?^" Gift of Mrs.

Edward Robinson, 1931


IH

h(ii3)h

KENYON COX,

i

856-1919

Augustus Saint-Gaudens

Dated 1908 Oil on canvas, n'A \ ^b'*" Gift of Friends of the Sculptor,

i

908


126

h(io9)«-

JULIAN ALDEN WEIR, 18^2-1919 The Red Bridge Painted about Oil on canvas, 24-3

i

/i

896 6 x

3

3^"

Gift of Mrs. John A. Rutherfurd, 19 14


127

^

1

I

o

)c

JOHN HENRY TWACHTMAN, i8n-'9o2 Horseneck Oil on canvas,

Falls

30x25" Dr (Jroot, 1952

Lent hv Adelaide Milton


h(ii9)h

WILLIAM GLACKENS, Central Park

Painted about Oil on canvas,

1870-193I

Winter

in

2

i

5^

90

g

x 30"

George A. Hearn Fund, 1921


129

^11

)«. 1

THOMAS WILMHR DEWING,

i

891

Green and Gold Oil on canvas, Gift

of"

24,"i

x

Elisabeth Ball,

2

214"

19^

-i

958


I30

I

^II2)|.

GEORGE De FOREST BRUSH,

18^^-1941

Allen Harriman

Dated Oil on canvas,

1

90 f

^6k x

39-5^/16"

Gift of General Bovkin C. Wright, 195^3


•3«

^i

i4)«.

JAMES J. SHANNON,

1862-192}

Magnolia

Dated

i

899

Oil on canvas, 7

i

K

x i^H"

George A. Hearn Fund, 191}


32

I

THOMAS POLLOCK ANSHLTZ,

i

The Cabbage Patch Dated 1879 Oil on canvas, 24 x 17'

Morris K. Jesup Fund, 1940

8^1-191


"33

^I l6)c

ROBERT HHNRl, Dutch Girl Painted

in in

186^-1929

White 1907

Oil on canvas, 24 x 20"

Arthur H. Hearn Fund, 19^0


•34

GEORGELUKS,

1867-193?

The Old Duchess Dated

i

905^

Oil on canvas, 30 x

2

g"

George A. Hearn Fund, 1921


1 »3S

m^^^^^

"Vf H^^^Ki.

^.J^^9|H|PHB

«

^B ^i i8)c

JOHN SLOAN, Dust Storm,

Dated

1871-19P Avenue

Fifth 1

906

Oil on canvas,

George A.

Heam

22x27* Fund, 1921

.

-

1

».

jaii^B

* '*'**''

fe.

F!7^^^H


136

J

i

p^^i^^j

i

ARTHUR

B.

DAVIES,

i

862-1 928

Adventure Painted about

i

9

i

o

Oil on canvas, iSyix 30H"

Bequest of Miss Lizzie

P. Bliss, 1931


'37

ARTHUR

B.

DAVIHS, 1862-1928

Town

Italian Hill

Oil on canvas,

2

^H

Bequest of Miss Lizzie

\

i^H"

P. Bliss,

1

9

j

1


138

^122)..

MAURICE PRENDERGAST,

18^9-1924

Group of Figures Oil on canvas,

23X x

ij'A"

Lent by Adelaide Milton de Groot,

i

9 f2


1

i4

ERNEST LAWSON,

1873-1959

Winter Painted

in

Oil on canvas,

1914 2 5

x ]o'i'

George A. Hearn Fund,

191

f


140

h(i24)ÂŤ-

GEORGE BELLOWS, Tennis

at

Painted

1882-1925^

Newport in

i

9

i

9

Oil on canvas, 40'i x 43X''

Lent by Adelaide Milton de Groot,

1

95^2


141

GIFFORDBEAL,

1

879-1 9^^

The Albany Boat Dated 1915 Oil on canvas, 361^ x Goi^"

George A. Hearn Fund, 1917


142

•»(INDEX

TO

plates)"

Artist's

Name and

Catalogue Numbers

Alexander, Henr)-

61

Allston Washington

3 2

,

Anshutz, Thomas Pollock

Audubon, John James Badger, Joseph

f

2

Beal, Gifford

25

1

Beaux, Cecilia

106

Bellows, George

24

1

Benbridge, Henn.-

9

45c

BiERSTADT, Albert

Blackburn. Joseph

3

Blakelock, Ralph Albert

Blum, Robert

i

i

34

yj

64

F.

Blythe, David Gilmore

Brown, George

j2

Loring

Brown, John George Brown, Mather 2

42 56

i

Brush, George De Forest Carlin, John Cassatt, Mar\-

Cole, Thomas

89c

88,

Frederic Edwin

48c

37, 3SC

CoLMAN, Samuel

93

Copley, John Singleton

Cox, Kenyon

^c

113c

Cropsey, Jasper

43

F.

Davies, Arthur B.

120,121

Dewing, Thomas Wilmer

DuRAND, Asher Brown Eakins, Thomas

Earl, Ralph

2

1

loic, 102

Chase, William Merritt

Church,

1

86

i

84

Field, Erastus Salisburs-

i

39c, 40

68c, 69, 70

10

Evans, James G.

i

80


8

j

'43

Glackens, William

i

Gray, Henry Peters

33

Harding, Chester

9C

i

Peale, Rembrandt

Harnett, William Michael Hassam, Childe

Henri, Robert

Roesen, Severin

4

83c

Homer, Winslow Hovenden, Thomas

Unknown

|ohnson, Eastman Keith, William

2

Unknown

1

5^3,

Unknown

La Farge, John

41

92

Lawson, Ernest

123 1

i

MoRAN, Thomas

Peale, James

1

o

1

Hudson Valley Painter

58c

Waldo, Samuel

Lovett

Waldo, Samuel

Lovett and

Julian

2 3

28

Alden

West, Benjamin

27

109

6C

60c 7

Whistler, James Abott McNeill

57

Whittredge, Worthington

8

Wood, Thomas Waterman

50c

Peale, James (Attributed to)

8

1

78

74

Weir, John Ferguson

46

Peale, Charles Willson

1

Waller, Frank

Weir,

95

Morse, Samuel Finley Breese MosLER, Henry

I)

Jewett, William

7

Martin, Homer Dodge

1

Painter

Vedder, Elihu

82

Kensett, John Frederick

3

(Burning of the Sidewheeler Henry Clay)

54

47

Kemmelmeyer, Frederick

29

Painter

(Jonathan Dwight

96c, 97

Wesley

i

Twachtman, John Henry

25

17c

14, 15, 16,

18, 19c, 20

Trumbull, John

22

Inness, George

ic

Thompson, Thomas

26

90,91

Ingham, Charles Cromwell

114

J.

Sully, Thomas

HuBARD, William James

103, 104C, 10

i

Stuart, Gilbert

63

Hunt, William Morris

1

Smibert, John

35

6jc, 66, 67

77C

76,

87c

H.

J.

Sloan, John

Hinckley, Thomas Hewes

LuKS, George

ScHENCK,

^9

Shannon, James

Hesselius, John

Inman, Henry

ji

Sargent, John Singer

Henry, Edward Lamson

Hicks, Edward

looc

Ryder, Albert Pinkham

49

16

i

62

Robinson, Theodore

36

Jr.

2 2

i

73

Remington, Frederick

79

Heade, Martin Johnson

Jarvis, John

QuiDOR, John

71

107, 108

Havell, Robert,

72

Prendergast, Maurice

24

Hathaway, Rufus

30,31

Peto, John Frederick

Wyant, Alexander H.

94

44 5 J

98, 99

85


•4COLOPHON>

3f ,000 copies Printed: June 1966 bv Diablo Pre^^, Berkelev, California

Typography:

9 point

and

i

i

point

Monotvpe Perpetua

Typographer: Vernon Simpson typographers

Inc.,

Designer; Louis Danziger, Los Angeles, California

Los Angeles, CaUfornia


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