BGuthrie Photos: MD -- Hagerstown -- Washington County Museum of Fine Arts

BGuthrie Photos: MD -- Hagerstown -- Washington County Museum of Fine Arts MD -- Hagerstown -- Washington County Museum of Fine Arts:

Bruce Guthrie Photos Home Page: [Click here] to go to Bruce Guthrie Photos home page.

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Slide Show: Want to see the pictures as a slide show? [Click here for Slideshow]

Copyrights: All pictures were taken by amateur photographer Bruce Guthrie (me!) who retains copyright on them. Free for non-commercial use with attribution. See the [Creative Commons] definition of what this means. "Photos (c) Bruce Guthrie" is fine for attribution. (Commercial use folks including AI scrapers can of course contact me.) Feel free to use in publications and pages with attribution but you don't have permission to sell the photos themselves. A free copy of any printed publication using any photographs is requested. Descriptive text, if any, is from a mixture of sources, quite frequently from signs at the location or from official web sites; copyrights, if any, are retained by their original owners.

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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. WCMFA_231125_01_SPHERE.JPG: The following pictures are from the page 2023_MD_WCMFA MD -- Hagerstown -- Washington County Museum of Fine Arts (6 photos from 2023)
  Photosphere (fisheye) image from the Google Pixel 7 Pro
2. WCMFA_231125_02_SPHERE.JPG: Photosphere (fisheye) image from the Google Pixel 7 Pro
3. WCMFA_231125_03_SPHERE.JPG: Photosphere (fisheye) image from the Google Pixel 7 Pro
4. WCMFA_231125_06.JPG: Diana of the Chase 1922 Bronze Gift of the artist in honor of the tenth anniversary of the Washington County Museum of Fine Arts, A0345,41.0400 From Cambridge, Massachusetts and the daughter of a zoologist who encouraged her to draw from nature, Huntington pursued a successful career as a sculptor. Her ability to capture motion in figures is evident in this sculpture of the goddess Diana and her hound. Because of her striking pose and prominent location, Diana of the Chase has since become an iconic image of the Washington County Museum of Fine Arts.
5. WCMFA_220220_001.JPG: The following pictures are from the page 2022_MD_WCMFA MD -- Hagerstown -- Washington County Museum of Fine Arts (68 photos from 2022)
  Face coverings are required for everyone while visiting the Museum Thank you for your cooperation Face coverings are available at the Front Desk
6. WCMFA_220220_004.JPG: The Eight to Abstraction: Modernism & Innovation
7. WCMFA_220220_009.JPG: The Eight
8. WCMFA_220220_017.JPG: John French Sloan Windy Day, 1908
9. WCMFA_220220_021.JPG: Edwin Willard Deming Departure of the Hunters, ca 1887-1900
10. WCMFA_220220_031.JPG: Ernest Lawson Shepherd in the Forest, ca 1890-1915
11. WCMFA_220220_043.JPG: Arthur Bowen Davies Horizons, 1906
12. WCMFA_220220_057.JPG: Jerome Myers The Grandmother, 1919
13. WCMFA_220220_080.JPG: Hamilton Achille Wolf Annuniciation, ca 1930s-40s
14. WCMFA_220220_087.JPG: Guy Pene du Bois Bobby Posing, ca 1910-20
15. WCMFA_220220_101.JPG: Robert Henri Michael, 1913
16. WCMFA_220220_116.JPG: The American Scene and Mid-Century Art
17. WCMFA_220220_120.JPG: Sarah Stafford Goodwin Farm Scene, Study for a Mural (Post Office), Llangollen, Delaware, 1937
18. WCMFA_220220_130.JPG: Norman Rockwell The Oculist, 1956
19. WCMFA_220220_164.JPG: Philip Guston Portrait of Shanah, 1941
20. WCMFA_220220_171.JPG: Reuben Kadish Untitled, 1948
21. WCMFA_220220_178.JPG: Abstraction
22. WCMFA_220220_181.JPG: Ralph Baney The Bride, 1975
23. WCMFA_220220_187.JPG: Malvina Hoffman Sicilian Fisherman, 1935
24. WCMFA_220220_195.JPG: (left) Fulvio Bianconi Bottle Vase, 1951 (right) Dino Martens Oriente Murano Vase, 1960
25. WCMFA_220220_216.JPG: Charles Hugo Walther Abstract, 1924
26. WCMFA_220220_227.JPG: Nicolai Kuvshinoff La Nature Morte (Still Life), 1950
27. WCMFA_220220_235.JPG: Louise Nevelson Untitled, 1958
28. WCMFA_220220_245.JPG: Kurt Seligmann The Offering, 1946
29. WCMFA_220220_253.JPG: Lilian Orloff Composition #2, ca 1930s-40s
30. WCMFA_220220_265.JPG: Modernism & the Immigrant Experience
31. WCMFA_220220_271.JPG: Gerard Sekoto Mother and Child, ca 1940-60
32. WCMFA_220220_284.JPG: Joseph Deweese Holston Jazz at Takoma Station, 1998
33. WCMFA_220220_297.JPG: Dominick Labino Spatial Movement, 1971
34. WCMFA_220220_312.JPG: Rene Lalique, Lalique et Cie Chamois Vase, 1931
35. WCMFA_220220_316.JPG: Dujam Penic The Muse of Memory, 1919
36. WCMFA_220220_321.JPG: Grace Hartigan Hake, 1980
37. WCMFA_220220_330.JPG: Paul Warhola Paul & Andy, 1990
38. WCMFA_220220_341.JPG: Babe Shapiro Tutorab, 1970
39. WCMFA_220220_346.JPG: Pop Art, Minimalism & Other Trends
40. WCMFA_220220_348.JPG: Lowell Blair Nesbitt Rose, 1965
41. WCMFA_220220_355.JPG: Paul Wayland Bartlett Benjamin Franklin, 1913
42. WCMFA_190324_001.JPG: The following pictures are from the page 2019_MD_WCMFA MD -- Hagerstown -- Washington County Museum of Fine Arts (171 photos from 2019)
  Keith Morrow Martin Battleground, 1958
43. WCMFA_190324_007.JPG: Keith Morrow Martin Landscape Image, 1963
44. WCMFA_190324_014.JPG: Hugo Ballin Earth Forces, n.d.
45. WCMFA_190324_026.JPG: Jane Peterson Pink Poppies, n.d.
46. WCMFA_190324_032.JPG: Lowell Blair Nesbitt Rose, 1965
47. WCMFA_190324_036.JPG: Phillip Koch Spring Front Yard, 1986-89
48. WCMFA_190324_041.JPG: Robert Bauer Carolyn, 1972
49. WCMFA_190324_047.JPG: Jane Peterson Roses in Basket, n.d.
50. WCMFA_190324_051.JPG: Louis Ritman Summer House, n.d.
51. WCMFA_190324_059.JPG: Carl William Peters Morning at the Boat Yard, n.d.
52. WCMFA_190324_064.JPG: Mary Helen Chrissinger Provinvetown Wharf, n.d.
53. WCMFA_190324_070.JPG: Joseph Grossman The Party, n.d.
54. WCMFA_190324_074.JPG: Eugene W. Leake March Woods & Stream -- Hutchins Mill, 1981
55. WCMFA_190324_077.JPG: Kenyon Cox Thistledown, 1882
56. WCMFA_190324_094.JPG: Henry Botkin Figures by the Sea, n.d.
57. WCMFA_190324_101.JPG: Grace Hill Turnbull Whirlpool II, 1925
58. WCMFA_190324_106.JPG: The American Scene and Mid-Century Art (1930s-1950s)
59. WCMFA_190324_113.JPG: William James Glackens Bouquet in Blue Paper-Wrapped Pot, 1930-35
60. WCMFA_190324_118.JPG: George Luks Portrait of a Young Girl, n.d.
61. WCMFA_190324_125.JPG: Robert Henri Michael, 1913
62. WCMFA_190324_132.JPG: Arthur Bowen Davies Horizons, 1906
63. WCMFA_190324_143.JPG: Ashcan School and Early 20th Century (1900-1930)
64. WCMFA_190324_146.JPG: John French Sloan Windy Day, 1908
65. WCMFA_190324_151.JPG: Charles H. Walther "Untitled" Abstract, #121, 1915
66. WCMFA_190324_160.JPG: John Gutzon Borglum Head of Abraham Lincoln, 1930
67. WCMFA_190324_168.JPG: Jerome Myers The Grandmother, 1919
68. WCMFA_190324_173.JPG: Ashcan to Abstraction: Modernism in America
69. WCMFA_190324_176.JPG: Joseph Deweese Holston Jazz at Takoma Station, 1998
70. WCMFA_190324_182.JPG: Herman Maril Still Life with Black Cat, 1960
71. WCMFA_190324_187.JPG: Grace Hartigan Hake, 1980
72. WCMFA_190324_197.JPG: Malvina Hoffman Sicilian Fisherman, 1935
73. WCMFA_190324_202.JPG: Reuben R. Kramer Iolanthe, 1959
74. WCMFA_190324_209.JPG: Norman Rockwell The Oculist, 1956
75. WCMFA_190324_230.JPG: Reuben Haley Ruba Rombic Sugar Bowl and Creamer, 1928
76. WCMFA_190324_236.JPG: Paul Stankard Crown Imperial Lily Botanical, 1987
77. WCMFA_190324_243.JPG: Philip Guston Portrait of Shanah, 1941
78. WCMFA_190324_250.JPG: Abstraction (1950s-1960s)
79. WCMFA_190324_253.JPG: Reuben Kadish Untitled, ca 1948
80. WCMFA_190324_258.JPG: Keith Morrow Martin Big Apple, 1966
81. WCMFA_190324_267.JPG: Louise Nevelson Untitled, 1958
82. WCMFA_190324_273.JPG: Robert Goodnough Circle 1, 1962
83. WCMFA_190324_279.JPG: Gene Davis Untitled, 1972
84. WCMFA_190324_283.JPG: Late 20th Century (1970s-2000s)
85. WCMFA_190324_293.JPG: Anna Hyatt Huntington Diana of the Chase, 1922
86. WCMFA_190324_301.JPG: Attributed to Otto van Veen Portrait of St. Thomas the Apostle, 17th century
87. WCMFA_190324_308.JPG: Domenico Campagnola The Magdalen
88. WCMFA_190324_315.JPG: Pierre Mignard Christ and the Woman of Samaria, ca 1691
89. WCMFA_190324_320.JPG: New Acquisitions from the Collection
90. WCMFA_190324_322.JPG: Larry C. Rodda Attack Repulsed, ca 1935-39
91. WCMFA_190324_341.JPG: Richard Crozier Lot Behind the Guad, 2003
92. WCMFA_190324_349.JPG: Andre-CHarles Nauleau Landscape with Village, ca 1960-77
93. WCMFA_190324_365.JPG: Nineteenth Century American Art
94. WCMFA_190324_370.JPG: John Rogers Checkers up at the Farm, ca 1875
95. WCMFA_190324_379.JPG: Caspar Buberl Newspaper Boy, 1888
96. WCMFA_190324_382.JPG: Thomas Moran Lower Manhattan from Communipaw, New Jersey, 1880
97. WCMFA_190324_401.JPG: James E. Buttersworth Puritan and Priscilla off Sandy Hook
98. WCMFA_190324_407.JPG: Jasper F. Cropsey Autumn Landscape with View of River, 1870
99. WCMFA_190324_420.JPG: Benjamin West Ascension of Christ (Study), 1798
100. WCMFA_190324_428.JPG: Thomas Birch The Shipwreck, 1837
101. WCMFA_190324_440.JPG: Unknown artist, possibly Francis Edmonds Vote for Gull 'Em, ca 1840
102. WCMFA_190324_452.JPG: Thomas Cole Study for "The Voyage of Life: Childhood"
103. WCMFA_190324_460.JPG: John George Brown The Dilettante, 1882
104. WCMFA_190324_471.JPG: Robert Spear Dunning Still Life in a Dining Room Interior, ca 1875
105. WCMFA_190324_475.JPG: Severin Roesen Still Life
106. WCMFA_190324_481.JPG: Albert Bierstadt In the Rockies
107. WCMFA_190324_492.JPG: John Frederick Kensett A Mountain Pool, 1863
108. WCMFA_190324_500.JPG: George Inness The Coming Storm, 1876
109. WCMFA_190324_506.JPG: Hugh Bolton Jones Pool in the Meadow, 1875
110. WCMFA_190324_518.JPG: James Fairman Songo River, Maine, 1865
111. WCMFA_190324_528.JPG: William Stanley Haseltine Nahant Rocks, New England, 1864
112. WCMFA_190324_541.JPG: Ernest Wynants Scherzo, 1933
113. WCMFA_190324_569.JPG: The Singer Memorial Gallery
114. WCMFA_190324_572.JPG: French Art
115. WCMFA_190324_575.JPG: Adolphe Joseph Monticelli Garden Scene
116. WCMFA_190324_579.JPG: Louis Beroud Girl at Easel, 1888
117. WCMFA_190324_583.JPG: Jean-Baptiste-Camille Corot Landscape in the Neighborhood of the City
118. WCMFA_190324_588.JPG: Theodore Rousseau Landscape, near Fontainebleau
119. WCMFA_190324_591.JPG: Willard Leroy Metcalf New England Afternoon, 1909
120. WCMFA_190324_598.JPG: Henri Fantin-Latour Nymph, 1904
121. WCMFA_190324_600.JPG: Gustave Courbet Landscape, ca 1873-75
122. WCMFA_190324_606.JPG: Henri Joseph Harpignies Study
123. WCMFA_190324_612.JPG: Dwight William Tryon Night, 1913
124. WCMFA_190324_618.JPG: Charles-Francois Daubigny Study of a Shack, 1877
125. WCMFA_190324_624.JPG: American Art
126. WCMFA_190324_625.JPG: Jonas Lie Western Slope, 1923
127. WCMFA_190324_630.JPG: Childe Hassam White House, Gloucester, 1895
128. WCMFA_190324_634.JPG: Richard Emil Miller Interior with Figure, ca 1917-21
129. WCMFA_190324_640.JPG: William Henry Howe Head of a Cow, ca 1890-1906
130. WCMFA_190324_645.JPG: Henry Singlewood Bisbing Steer in Pasture
131. WCMFA_190324_650.JPG: Emile van Marcke de Lummen Landscape with Cows, 1870
132. WCMFA_190324_656.JPG: Martin Borgord Dutch Peasant, ca 1918
133. WCMFA_190324_660.JPG: Willem Dooijewaard The Yachtsman, 1936
134. WCMFA_190324_665.JPG: Martin Borgord Norwegian Sailor, ca 1924
135. WCMFA_190324_669.JPG: John Henry Twachtman View of Rhenen, 1881
136. WCMFA_190324_676.JPG: Charles Paul Gruppe Sunset on the Dutch Coast
137. WCMFA_190324_683.JPG: Dutch Paintings / Laren Circle
138. WCMFA_190324_685.JPG: Eugene Lawrence Vail Fisherman of the North
139. WCMFA_190324_689.JPG: George Wainwright Harvey Three Fishwives, Scheveningen, Holland
140. WCMFA_190324_694.JPG: William Henry Singer A Summer Sky
141. WCMFA_190324_699.JPG: Jozef Israels Dutch Canal with Windmill
142. WCMFA_190324_706.JPG: Jacob Dooijewaard Portrait of Anna Brugh Singer, 1919
143. WCMFA_190324_710.JPG: Jacob Dooijewaard Portrait of William Henry Singer, 1943
144. WCMFA_190324_716.JPG: Max Kalish Towing, 1925
145. WCMFA_190324_719.JPG: Paul Wayland Bartlett Sorrow, 1893
146. WCMFA_190324_727.JPG: Pierre-Auguste Rodin St. John the Baptist, 1878
147. WCMFA_190324_739.JPG: Charles Hawthorne Sewing Girl
148. WCMFA_190324_743.JPG: Willard Leroy Metcalf New England Afternoon, 1909
149. WCMFA_190324_763.JPG: Christine Neill Hibiscus & Yellow Jackets, Cooling Plants, Invasive Chestnuts, 2014
150. WCMFA_190324_767.JPG: Roy Lichtenstein Still Life with Pitcher and Flowers, 1974
151. WCMFA_190324_772.JPG: Chryssa Prints from the Electric Sky Portfolio, 1980
152. WCMFA_190324_777.JPG: Paul Wayland Bartlett Benjamin Franklin, 1913
153. WCMFA_190324_784.JPG: Margit Beck Ascent No. 21, 1969
154. WCMFA_190324_790.JPG: James Voshell Portrait of Two Boys, 1980
155. WCMFA_190324_798.JPG: Keith Morrow Martin Wellforce, 1967
156. WCMFA_120203_001.JPG: The following pictures are from the page 2012_MD_WCMFA MD -- Hagerstown -- Washington County Museum of Fine Arts (66 photos from 2012)
157. WCMFA_120203_016.JPG: Marcantonio Bassetti Portrait of a Gentleman Writing, c 1621
158. WCMFA_120203_023.JPG: Francesco Beccaruzzi David with the Head of Goliath, 1530s
159. WCMFA_120203_033.JPG: Domenico Tintoretto Portrait of Antonio Dandolo, c 1580s
160. WCMFA_120203_047.JPG: School of Mathieu Le Nain Henri Coiffier de Ruze, Marquis de Cinq-Mars (1620-1642), second half of the 17th century
161. WCMFA_120203_057.JPG: Pierre Mignard Christ and the Woman of Samaria, c 1691
162. WCMFA_120203_063.JPG: Erasmus Quiellinus Christ Blessing the Children, c 1630s
163. WCMFA_120203_078.JPG: Giovanni Mazone Saints Mary Magdalene and Paul, c 1480s
164. WCMFA_120203_084.JPG: Domenico Campagnola The Magdalena
165. WCMFA_120203_094.JPG: Battista Zelotti The Finding of Moses, c 1565
166. WCMFA_120203_103.JPG: Ernest Wynants Scherzo, 1933
167. WCMFA_120203_108.JPG: Thomas Sully Portrait of Daniel Webster
168. WCMFA_120203_114.JPG: William Henry Singer, Jr. The Sun's Last Rays, 1930
169. WCMFA_120203_120.JPG: Jacob Dooijewaard Endormi, 1926
170. WCMFA_120203_130.JPG: Isidore Opsomer Portrait of William Henry Singer, Jr.
171. WCMFA_120203_135.JPG: Antonio Tobias Mendez Solitaire?, 1999
172. WCMFA_120203_145.JPG: Norman Rockwell The Oculist, 1956
173. WCMFA_120203_157.JPG: Rachel Ellen Dorsey George Washington Mourning Embroidery, 1816
174. WCMFA_120203_164.JPG: John George Brown (1831-1913) American, born in England The Dilettante 1882 Oil on canvas Gift of Mr. & Mrs. Lee Stine, Sharpsburg, Maryland, in honor of the Museum's 75th anniversary, 2005, A4084 Brown's The Dilettante is one of the artist's many paintings of urban "urchins." A major problem in many nineteenth-century cities, the young boys, many of whom were homeless, were the object of sentiment by a comfortable society who denied that poverty was real or could be helped. Brown took up this position in his paintings, representing the young bootblacks, newspaper sellers, and vendors as cheerful and carefree. Typically they wore ragged clothing and scuffed shoes, but their faces bloomed with health. The young fellow in this painting, having found a broken vase in the nearby trash can, is celebrating his good "taste." Brown, who arrived in New York in 1853 already trained as an artist, at first painted rural children, then turned to city boys, making his fortune with these sought-after images. For a change of scene and mood, he often painted landscapes in the Hudson River valley and White Mountains, but it is his urchin paintings for which he is remembered.
175. WCMFA_120203_170.JPG: Thomas Cole (1801-1848) American Study for "The Voyage of Life: Childhood" Oil on canvas Museum purchase from William Macbeth, Inc., New York, New York, 1953, A756 Cole, honored as the founder of the Hudson River School landscapists, is best known for his wilderness scenes, painted near sites popular with tourists. Yet he relished narrative, especially allegorical story-telling that could be placed in a landscape. His four-part series The Voyage of Life was one such work. Depicting life as a journey down a river, he envisioned Childhood as humanity emerging from a cave, guided by an angel. Youth shows a young man guiding his own boat, aiming toward a dream castle in the sky; in Manhood, the hero struggles through a rocky river in a storm, the angel no longer protecting him, his rudder broken and his hands clasped in prayer; in the final image, Old Age, an angel guides the white-haired man toward heaven. Cole painted the series for New York patron Samuel Ward, who wanted to display it in his dining room as a moral example for his daughter Julia Ward (later Howe). After finishing it in 1840, Cole wanted another version for exhibition, so he traced the original paintings, taking the tracings and studies to Rome to finish the second series in 1842. The museum's study is for that second series, which is now displayed at the National Gallery in Washington. The first is in the Munson-Williams-Proctor Institute, Utica, New York.
176. WCMFA_120203_179.JPG: Daniel Ridgway Knight (1839-1924) American The Burning of Chambersburg 1867 Museum purchase, 1968, A1541 The Civil War inspired a number of images, many of them painted after the war. Knight, a Union officer from Chambersburg, Pennsylvania, chose to pay tribute to the Confederate burning of his city some two years after he had left the army and set up his studio in Philadelphia. He chose not to represent the violence itself, but the effects of it, with the result being a memorable history painting. When the Chambersburg citizens were confronted with a ransom demand by Confederate General McCausland (as ordered by General Jubal Early) on July 28, 1864, they refused to meet it. The sum was considerably higher than that demanded of Hagerstown (which was not burned)--$100,000 in gold or $500,000 in U.S. currency. On July 30, Confederates burned the town, although some soldiers refused to participate, considering it to be barbaric. Knight may or may not have been present at the conflagration. However, in 1867, he painted this remembrance of the trauma experienced by Chambersburg residents, focusing on some who had fled to the countryside. Exhausted refugees rest in the foreground, while three young men peer out the collapsing door at the flames in the distance.
177. WCMFA_120203_187.JPG: Benjamin West (1738-1820) American Ascension of Christ (Study) 1798 Oil on canvas Museum purchase, 1952, A678 West, born in Pennsylvania, proved to be so talented in his youth that patrons sent him to Rome, Paris, and London to study. Without returning home, he settled in London, where his ambition to be a history painter could be satisfied. A generous teacher, he became a mentor to American artists who traveled abroad for study, including Charles Willson Peale(1741-1827) and his son Rembrandt Peale (1778-1860). His talent for large historical works earned West the respect of British artists, who elected him president of the Royal Academy of Arts of London. Astonishingly, given his American birth, he became court painter to King George III, who commissioned West to decorate the chapel at Windsor Castle. Ascension of Christ was a study for this project, which unfortunately was not carried out. However, West did paint other works for which the study was apparently a first step. This work shows West's capacity for fluid drawing and capture of implied movement. As Christ ascends into the heavens in the upper left, accompanied by angels, his stunned followers watch him with amazement.
178. WCMFA_120203_194.JPG: James E. Buttersworth (1817-1894) American, born in England Puritan and Priscilla off Sandy Hook Oil on panel Gift of Mr. Sidney A. Levyne, Pikesville, Maryland, 1966, A1473 When Buttersworth arrived in New York in 1845, he was already an accomplished draftsman and painter of yachts and clipperships. Before long, the American lithography firm of Currier and Ives based most of its popular marine prints on Buttersworth's work. At the time he painted Puritan and Priscilla off Sandy Hook, the clipper ship was the fastest sailing vessel and deemed by many the most beautiful. Soon, however, steamboats took over much of the freight and passenger traffic, and Buttersworth began painting yachts, especially yacht racing. With exquisite care he delineated rigging, sails, and even the waves. The New Jersey shore was a popular location for these races, and Sandy Hook Lighthouse a good observation post. In this picture, one can almost feel the wind.
179. WCMFA_120203_197.JPG: Thomas Moran Lower Manhattan from Communipaw, New Jersey, 1880
180. WCMFA_120203_210.JPG: Settling In: After the Civil War, Americans and American artists expected different themes and qualities in their images. As industrialization became a fact of life, and a fact that citizens were proud of at first, artists portrayed factories with interest. Thomas Moran, for instance, painted the sugar refineries of New Jersey with the Manhattan skyline in the distance. Landscapists, like George Inness, spent time in Europe and imitated the looser styles of painting that were practiced there. Impressionism came to America eventually, but not until early in the twentieth century (and thus American Impressionist works will be shown in part two of the reinstallation). For scenes of the American West, however, to which tourists began to travel in the latter nineteenth century, strongly detailed landscapes depicted its geological wonders -- especially in Yosemite, Yellowstone, and the Grand Canyon. Thomas Moran devoted his later career to scenes of the Grand Canyon, and his sponsors, the railway that carried tourists to the site, lithographed them.
181. WCMFA_120203_221.JPG: Frederic Edwin Church (1826-1900) American Scene on the Catskill Creek, New York 1847 Museum purchase, 1962, A1230 Church and his teacher Thomas Cole (1802-1848) were among the first landscapists to travel up the Hudson River to popular tourist sites, the Catskills being the first to be developed. Although tourist accommodations, including a large hotel, were plentiful among the Catskill Mountains, and the Catskill Creek provided the water power for many tanneries, Church and others chose to paint the sites as though they were still wilderness. In this picture we look through trees and limbs that frame the calm creek, its waters so still that they reflect clouds and the rocks and trees on the shoreline. Only the slightest ripples break the surface, along with a person in a canoe in the middle distance, its small size conveying depth. Church's precise brushstrokes, catching every bit of the light and texture of landscapes, won him many admirers.
182. WCMFA_120203_230.JPG: Albert Bierstadt (1830-1902) American, born in Germany In the Rockies Oil on paper, mounted on masonite Purchased with funds from The Elsa Emma Pangborn Fund, 1953, A734 Bierstadt was one of the landscapists who headed west with surveyors to paint the great American West. On one trail or another, he painted sketches in oil to bring back to his studio in New York. There he painted large panoramic pictures of the American and Canadian Rockies, Yellowstone and Yosemite, waterfalls, buffalo, and native Americans which, exhibited in heavy frames with theatrical drapes, won great acclaim. Having come to the United States as a child and settled in New Bedford, Massachusetts with his family, he studied in Germany as a young man and then embarked on a three-year sketching tour that included the Alps. Once he was back in the United States, he saw the west of "Manifest Destiny" as his subject, the Rockies as the American Alpi. In the Rockies is one of the many studies that Bierstadt used in composing his huge paintings.
183. WCMFA_120203_236.JPG: John Frederick Kensett (1816-1872) American A Mountain Pool 1863 Oil on canvas Museum purchase, 1968, A1542 Kensett's gentle landscape evokes a scene in North Conway, New Hampshire, in the White Mountains, a favorite tourist destination once travelers had begun moving east of the Hudson. Using a vertical format and thin layers of paint, Kensett suggests an evening in early fall. Water falls down to a pool in the middle ground, and mist rises near the left foreground, while pink clouds move above a mountain glowing with the last light of day. Kensett decided in his twenties to be a landscapist and spent eight years studying and traveling in Paris, Rome, London, and along the Rhine. His father, an engraver, had imbued him with a fondness for linear precision, which enabled Kensett to paint topographical works that appealed to tourists.
184. WCMFA_120203_241.JPG: In Awe of Nature: The first landscapists in America, typically English, painted estate landscapes and views of settlement. About 1820, however, inspired by the first tourism up the Hudson River, subsequently eastward to New England, and then westward across the continent, artists began painting landscapes of American nature. For technique, they drew on the work of European landscapists, but more important, they found the first American tourists to be eager for mementoes of what they had seen on their travels. Eventually, artists accompanied surveyors to the west to provide curious viewers back east with breathtaking views of western mountains. Because of the unsettled quality of most of the continent, writers and artists (conveniently neglecting the priority of Native Americans on the land) wrote and thought of the land with reverence, a wilderness designed by God for European settlers. Moving away from detailed renderings of landscapes in the years after the Civil War, American tourists like George Inness (1825-1894) were inspired by the soft focus of French landscapists. American buyers, proud of the sophistication they had gained on their own travels, embraced the newer style.
185. WCMFA_120203_243.JPG: George Innes The Coming Storm, 1876
186. WCMFA_120203_248.JPG: Hugh Bolton Jones (1848-1927) American Pool in the Meadow 1875 Oil on canvas Gift of Mrs. Florence H. Trupp, Baltimore, Maryland, 1982, A2195 This pastoral scene, with cattle surely recognizable by their owner, is testimony to Jones's love of specific scenes in Maryland and West Virginia. The day seems to be a hot one, with humidity in the air. The foreground is dotted with marsh plants, the middle ground with wildflowers. Jones was born in Baltimore and studied at the Maryland Institute of Art. He moved to New York to continue his studies and was soon exhibiting. With his brother Francis Coates Jones (1857-1932), a genre painter, he traveled in Europe from 1876 to 1880, where he learned to paint in outdoor light rather than making sketches and notes to finish a work in his studio. He became well known, winning prizes at several world exhibitions. There are many paintings by Jones in Maryland, including several at this museum.
187. WCMFA_120203_258.JPG: James Fairman (1826-1904) American, born in Scotland Songo River, Maine 1865 Gift of Dr. Richard D. Robbins, Baltimore, Maryland, in memory of Mrs. Betty Sumner Michael, 1995, A3082 Critics have often called the work of Fairman and other artists "Luminist" because of their reliance on light that seems to emanate from their canvases and the absence of obvious brushstrokes. Songo River, Maine is such a work, painted in thin, fluid colors of yellow that look as though the painting had been created without human hand. The sky and the river in the middle of the picture, connecting Sebago Lake to Brandy Pond, reflect a golden light that sparkles here and there. Precise brushstrokes delineate small houses on the distant shore, figures in a dugout canoe, and marsh and slight ripples in the foreground. Although he is typically associated with the White Mountains, Fairman traveled as far as Maine, painting for residents and tourists alike. In 1871, he began a series of travels throughout England, France, Italy, Germany, and the Holy Land that lasted until the early 1880s, when he moved to Michigan to teach at Olivet College.
188. WCMFA_120203_266.JPG: William Stanley Haseltine (1835-1900) American Nahant Rocks, New England 1864 Oil on canvas Gift of Mrs. Helen Haseltine Plowden, London, England, 1961, A1140 So intrigued with these gigantic rocks along a peninsula in the Massachusetts Bay north of Boston, Haseltine painted more than sixteen pictures of them on his many trips along the Massachusetts coast in the 1860s. These smooth-topped igneous rocks (often called "fire rocks"), formed from magma and thrust to the surface, attracted several geological theories, including those of Louis Agassiz (1807-1873), a professor at Harvard during Haseltine's student years, who proposed direct creation. His theories were challenged by the evolutionary studies of Charles Darwin (1809-1882). Haseltine, like Bierstadt and Kensett, spent several years studying in Europe before he launched his career. His daughter gave Nahant Rocks, New England to the museum.
189. WCMFA_120203_274.JPG: Paul Wayland Bartlett Benjamin Franklin, 1913
190. WCMFA_120203_281.JPG: John Gutzon Borglum (1867-1941) American Head of Abraham Lincoln 1929 Marble Gift of Mrs. Anna Brugh Singer, Olden, Norway, 1931, A01 Borglum's sculpture of Lincoln reveals his close study of photographs of the President. The knit brows, hooded eyes, full lower lip, sunken checks, and even the wart on his lower right cheek place the brooding man before us. Carving the head directly into the stone in emulation of such masters as Michelangelo, Borglum emphasized the right side of Lincoln's face, which he considered the more expressive. The sculpture, created more than 60 years after the end of the Civil War and by an artist who was born after the war, is a testimony to American society's enduring preoccupation with Lincoln. Known for his monumental sculpture carved into Mount Rushmore, Borglum considered this portrait, the original study for his head of Lincoln in the Capitol, as among his finest work.
191. WCMFA_120203_287.JPG: Rembrandt Peale (1778-1860) American Portrait of Henry Robinson ca. 1816 Oil on Canvas Museum purchase, 1964, A1345 Named after an artist, as all Charles Willson Peale's children were, Rembrandt Peale followed his father's interest in painting and in museums. Having studied in London and Paris and returned to the United States to work in Baltimore, over his lifetime he secured his reputation with replicas of his portrait of George Washington for city halls, courthouses, and other institutions. In 1814 he founded the Peale Museum in Baltimore, where he enlisted the help of his friend Henry Robinson in lighting the museum with the newly invented gaslight. Peale depicted Robinson, who had founded the gasworks company and was a supporter of the museum, with a smooth painting surface characteristic of the Neoclassical work the artist had seen in Paris. Diffused light with slight shadows under the rim of Robinson's glasses contribute to the immediacy of Peale's portrait.
192. WCMFA_120203_296.JPG: Sarah Miriam Peale (1800-1885) American Portrait of a Woman Oil on canvas Museum purchase, 1967, A1486 The niece of Charles Willson Peale, Sarah Miriam Peale carried on the artistic achievements of her family. Her father, James Peale (1749-1831), was Charles Willson's Peale's brother, who devoted his life to miniature portraits. Sarah Miriam at first painted still lifes, an appropriate subject for women artists, but on developing skills as a portraitist set up a studio in her cousin Rembrandt Peale's Peale Museum in Baltimore. Before long, she had become well known and received many commissions. Her technique in this portrait indicates the reasons for her popularity: her sitter's dignified posture and fashionable coiffeur, bonnet, jewelry, and costume make her an appealing subject. Her identity is no longer known, an irony in that portraits were meant to preserve one's name and family.
193. WCMFA_120203_302.JPG: Charles Willson Peale (1741-1827) American Portrait of Elizabeth Tasker Lowndes 1789 Oil on canvas Gift of Edward Bowie Prentiss, Catharine Watkins Prentiss Plummer, and M. G. Louis Watkins Prentiss Jr. in memory of their mother, Helen Bowie Prentiss, 2007, A4298 Charles Willson Peale, a Maryland artist, naturalist, and museum entrepreneur, founded a family painting dynasty in Maryland that lasted for several generations. Showing great talent as a young man, he was able to study in London for two years with famous expatriate Benjamin West (1738-1820) through the sponsorship of friends. On returning, he settled in Annapolis and then in Philadelphia, where he founded a museum that displayed the results of his explorations of natural history in the region and the portraits that he had painted of important citizens. Knowing his reputation, children of Elizabeth Tasker Lowndes, of Bladensburg, Maryland, commissioned the famous Peale to paint their mother during her final illness. The subdued colors and tone of the painting indicate her condition; her costume conveys her stylish dress to the end.
194. WCMFA_120203_309.JPG: Gerolamo Bassano The Sepulchre, early 17th century
195. WCMFA_120203_316.JPG: Timoteo Viti Self-Portrait, 1509
196. WCMFA_120203_322.JPG: Emile Antoine Bourdelle Bust of Beethoven with Hands
197. WCMFA_120203_353.JPG: William Henry Singer, Jr. Autumn Birches, 1926
198. WCMFA_120203_366.JPG: Kenyon Cox Thistledown, 1882
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Wikipedia Description: Washington County Museum of Fine Arts
From Wikipedia, the free encyclopedia

Washington County Museum of Fine Arts is an art museum located in Hagerstown, Maryland, United States. The building is located off Park Circle and serves as a centerpiece in Hagerstown City Park. The museum was donated in 1929 by Mr. and Mrs. William Singer, Jr. It was completed in 1931 and two wings were added in 1949. The Museum provides residents and visitors with access to a nationally recognized permanent collection and a rotating schedule of exhibitions, musical concerts, lectures, films, art classes and special events for children and adults throughout the year. The collections include 19th & early 20th Century American Art, Old Masters, and Decorative art.

Washington County Museum of Fine Arts has no entrance fee and relies on public and private donations. The museum is accredited by the American Association of Museums (AAM) .
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