BGuthrie Photos: DC -- Donald W. Reynolds Center -- Paintings

DC -- Donald W. Reynolds Center -- Paintings:

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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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[1] SIPGPA_110417_009.JPG	[2] SIPGPA_110417_016.JPG	[3] SIPGPA_110417_022.JPG
[4] SIPGPA_110417_029.JPG	[5] SIPGPA_110417_033.JPG	[6] SIPGPA_110417_041.JPG
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[10] SIPGPA_110417_057.JPG	[11] SIPGPA_110417_064.JPG	[12] SIPGPA_110417_067.JPG
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[19] SIPGPA_110417_092.JPG	[20] SIPGPA_110417_098.JPG	[21] SIPGPA_110417_105.JPG
[22] SIPGPA_110417_108.JPG	[23] SIPGPA_110417_116.JPG	[24] SIPGPA_110417_118.JPG
[25] SIPGPA_110907_02.JPG	[26] SIPGPA_110907_08.JPG	[27] SIPGPA_111010_002.JPG
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[76] SIPGPA_111010_300.JPG	[77] SIPGPA_111208_01.JPG	[78] SIPGPA_111208_09.JPG

Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. SIPGPA_110417_009.JPG: Landscape, Cornish, NH, about 1890 John White Alexander
2. SIPGPA_110417_016.JPG: Lighthouse Beach, Annisquam, about 1887 H Bolton Jones
3. SIPGPA_110417_029.JPG: Along the Hudson, 1852 John Frederick Kensett
4. SIPGPA_110417_033.JPG: Upland Pasture, about 1905 J. Alden Weir
5. SIPGPA_110417_041.JPG: September Afternoon, 1887 George Inness
6. SIPGPA_110417_050.JPG: Landscape with Rainbow, 1859 Robert S Duncanson
7. SIPGPA_110417_057.JPG: Greenwood Lake, 1875 Jasper Francis Cropsey
8. SIPGPA_110417_073.JPG: High Cliff, Coast of Maine, 1894 Winslow Homer
9. SIPGPA_110417_080.JPG: Rainbow over the Grand Canyon of the Yellowstone, 1900 Thomas Moran
10. SIPGPA_110417_089.JPG: The Chief's Canoe, before 1927 Belmore Browne
11. SIPGPA_110417_098.JPG: Cape Cod Morning, 1950 Edward Hopper
12. SIPGPA_110417_108.JPG: Ryder's House, 1933 Edward Hopper
13. SIPGPA_110417_116.JPG: People in the Sun, 1960 Edward Hopper
14. SIPGPA_110907_02.JPG: Portrait of Mnonja 2010 Mickalene Thomas
15. SIPGPA_110907_08.JPG: Yang Na 1984-86 Tony Berlant
16. SIPGPA_111010_002.JPG: Miners in the Sierras, 1851-52 Charles Christian Nahl August Wenderoth
17. SIPGPA_111010_051.JPG: Mist in Kanab Canyon, Utah, 1892 Thomas Moran
18. SIPGPA_111010_068.JPG: Dover Plains, Dutchess County, New York, 1848 Asher B. Durand
19. SIPGPA_111010_114.JPG: Americans Abroad: "Everybody was going to Europe... The steamship lines were carrying Americans... at the rate of four of five thousand a week... If I met a dozen individuals ... who were not going to Europe shortly, I have no distinct remembrance of it now." -- Mark Twain, The Innocents Abroad, 1869 American artists in the nineteenth century often traveled through Europe to pay their respects to the old masters and Antiquity. Painters covered their costs by creating views of picturesque ruins that sold well to other tourists. In Florence or Rome, Americans may have missed the brisk efficiency of their own cities, but everywhere around them, they saw thousands of years of art that made their young country seem raw and primitive by comparison. Many of these visitors felt that America needed a culture to match its political and economic power. The classical styles of art and architecture they brought home with them would dominate American public life for many decades.
20. SIPGPA_111010_119.JPG: Cotopaxi, 1855 Frederic Edwin Church
21. SIPGPA_111010_140.JPG: Valley of Cuernavaca, 1903 Thomas Moran
22. SIPGPA_111010_176.JPG: The Gilded Age: "She was not made for mean and shabby surroundings... an atmosphere of luxury... was the background she required, the only climate she could breathe in." -- Edith Wharton's Lily Bart, from The House of Mirth, 1905 The adventurers of the Gilded Age made vast fortunes in railroads, oil, steel, and mining, often through monopolies and ruthless labor practices. But the Age of Capital also fueled a search for a "higher life" of the spirit expressed through art, music, and refined manners. Wives of magnates presided over elegant homes in which strict codes of conduct governed every domestic ritual. Matrons "received" at approved hours, suppers of seventeen courses involved squadrons of servants, and guests knew the proper fork for oysters.
23. SIPGPA_111010_180.JPG: Albert Pinkham Ryder: Albert Pinkham Ryder was an artist of the Gilded Age, a cultured, learned man who looked to the great sweep of literature for a refuge from the harsh realities of his time. A tiny Ryder canvas is both epic and intensely personal, a window into one man's longing and exaltation. God and Nature -- including human nature -- are one. In his paintings, storms and swelling seas echo the human drama of love and loss, of conflict, joy, and resignation described by his favorite poets. But for all of his love of ancient tales, his faith in dreaming, and his search for spiritual truth, Ryder was one of the first truly modern painters. He cared little for the academic realism favored by many of his contemporaries; he took his themes and compositions from many sources, from high art to penny postcards. Ryder obsessively worked over his canvases, scrubbing and layering the paint as he worked through his ideas and passions. His paintings are a record of experience and feeling, transcriptions of the "music weird and strange" that governed his life.
24. SIPGPA_111010_189.JPG: Jonah, about 1885-1895 Albert Pinkham Ryder
25. SIPGPA_111010_240.JPG: Angels Appearing Before the Shepherds, about 1910 Henry Ossawa Tanner
26. SIPGPA_111010_257.JPG: Summertime, 1880 Winslow Homer
27. SIPGPA_111010_266.JPG: Boys in a Dory, 1880 Winslow Homer
28. SIPGPA_111010_281.JPG: Written in Stone: American sculptors in the nineteenth century translated literature into white marble, taking ideas from the classics, the Bible, romantic poetry, and American fiction. Hiram Powers and other went to Italy to hone their skills and claim their credentials as the equals of the great masters. An expensive marble statue on a literary theme showed a patron's sophistication, and a poetic title gave his guests permission to look at a nude figure that would otherwise have scandalized their Victorian morals.
29. SIPGPA_111010_284.JPG: George Carlin's Indian Gallery: George Catlin believed that contact with European Americans would eventually destroy American Indian tribes. The paintings in this room record what the artist saw as an inevitable journey from proud resistance in defeat. Catlin found a rich culture among the Mandans along the Missouri River and marveled at the horsemanship of the Comanches. He wrote in awe of the powerful personalities of Chief Black Hawk of the Sac and Fox and One Horn of the Western Sioux. But Black Hawk was already a prisoner of war when Catlin painted him at a military institution near St. Louis, and the artist saw uncertainty behind the haughty silence of his other sitters. These warriors posed with weapons and scalps testifying to their victories, while others sat for Catlin wearing tokens that marked their contact with Europeans. The government's policies gave Native Americans a choice between assimilation and extermination. But even those who adopted white ways were not safe. Among the defeated Seminoles imprisoned at Fort Moultrie, in South Carolina, Catlin painted several chiefs of mixed race, including Mick-e-no-pah, who was part black and owned slaves and land before the war ruined him. Carlin also painted Pigeon's Egg Head, an Assiniboine warrior who traveled to Washington in his finest tribal garments and returned in a colonel's full-dress uniform with a keg of whiskey under his arm. He was killed by one of his own warriors, who could not accept his transformation.
30. SIPGPA_111010_300.JPG: Inventing a Culture for a New Nation: American writers created a history and culture for the young republic in the first decades of the nineteenth century. Folklore of the Dutch and English settlers grew into the familiar tales popularized by Washington Irving, Nathaniel Hawthorne, and Herman Melville. Their stories featured recognizable types from American's towns and villages, characters that fed the popular imagination through painting and literature for generations. But young people who could afford schooling beyond the three R's learned the classics, as well. Greek and Roman poetry and stories from Shakespeare shaped the morals and civic behavior of these Americans.
31. SIPGPA_111208_01.JPG: The Savoyard Boy in London, 1865 James Edward Freeman
32. SIPGPA_111208_09.JPG: Sunday Morning, about 1877 Thomas Waterman Wood
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