Art)c ^ American Paintings from The Metropolitan Museum of
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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
â&#x20AC;˘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
)ÂŤâ&#x20AC;˘
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
â&#x20AC;˘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
â&#x20AC;˘^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
â&#x20AC;&#x201D; 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
â&#x20AC;˘^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
â&#x20AC;˘^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
â&#x20AC;˘^
^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
9°
^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
â&#x20AC;˘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
â&#x20AC;˘)(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
â&#x20AC;˘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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