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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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. SIPGPA_130504_001.JPG: Cotopaxi, 1855 Frederic Edwin Church Frederic Church was an ambitious painter and enthusiastic amateur scientist. He had read Darwin's books and Alexander von Humboldt's descriptions of Cotopaxi,"the most dreadful volcano...its explosions most frequent and disastrous."The fabled Ecuadorian mountain provided both a poetic symbol of God's creation and an exciting window into the planet's natural history. Geology was a new science in the nineteenth century, and Church was among those who believed that volcanoes offered clues to the age and origins of the earth. On his first visit to Ecuador, the artist waited an entire day near the hacienda pictured here, hoping that the clouds would part to reveal the peak. American critics complained that Church's paintings of the volcano did not capture the soft atmospheric haze that they were used to seeing in landscapes. Those who had never traveled to the high country of the Andes did not understand that in the thin, clear air, Cotopaxi's icy flanks gleamed just as Church had painted them.
2. SIPGPA_130504_021.JPG: The Coast of Genoa, 1854 Jasper Francis Cropsey
3. SIPGPA_130504_041.JPG: Looking Out of Battle Harbor, 1877 William Bradford
4. SIPGPA_130504_056.JPG: Clearing Storm at Gibraltar, c 1860 Samuel Colman
5. SIPGPA_130504_067.JPG: Volterra, 1860 Elihu Vedder
6. SIPGPA_130504_076.JPG: Lago Maggiore, c 1867 William Stanley Haseltine
7. SIPGPA_130504_087.JPG: Dover Plains, Dutchess County, New York, 1848 Asher B. Durand
8. SIPGPA_130504_105.JPG: Gates of the Yosemite, c 1882 Albert Bierstadt
9. SIPGPA_130504_126.JPG: Cathedral Rocks, Yosemite Valley, c 1872 Albert Bierstadt
10. SIPGPA_130504_135.JPG: Lake Scene, 1875 Edward L. Custer
11. SIPGPA_130504_155.JPG: Landscape with Rainbow, 1859 Robert S. Duncanson
12. SIPGPA_130504_183.JPG: Along the Hudson, 1852 John Frederick Kensett
13. SIPGPA_130504_215.JPG: Village Scene near Albany, New York, 1850 James M. Hart
14. SIPGPA_130504_241.JPG: River View with Hunters and Dogs, c 1850 Thomas Doughty
15. SIPGPA_130504_258.JPG: Alaskan Coast Range, c 1889 Albert Bierstadt
16. SIPGPA_130504_268.JPG: Sunrise in the Sierras, c 1872 Albert Bierstadt
17. SIPGPA_130504_278.JPG: Whiteface Mountain from Lake Placid, 1866 Sanford Robinson Gifford
18. SIPGPA_130504_309.JPG: Study for The Apotheosis of Washington in the Rotunda of the United States Capitol Building, c 1859-62 Constantino Brumidi
19. SIPGPA_130504_382.JPG: Westward the Course of Empire Takes Its Way (mural study, US Capitol), 1861 Emanuel Gottlieb Leutze Leutze's mural study for the Capitol in Washington celebrated the idea of Manifest Destiny just when the Civil War threatened the republic. The surging crowd of figures records the births, deaths, and battles fought as European Americans settled the continent to the edge of the Pacific. Like Moses and the Israelites who appear in the ornate borders of the painting, these pioneers stand at the threshold of the Promised Land, ready to fulfill what many nineteenth-century Americans believed was God's plan for the nation.
20. SIPGPA_130504_409.JPG: Still Life with Fruit and Champagne, 1869 Helen Searle
21. SIPGPA_130504_417.JPG: The Misses Mary and Hannah Murray, 1806 John Trumbull
22. SIPGPA_130504_426.JPG: Helen Brought to Paris, 1776 Benjamin West Benjamin West was in a complicated position as painter to King George III. He was an American who had made his reputation with classical scenes painted for English aristocrats and royalty. Yet, in a court ruled by strict etiquette, West and the king had many frank conversations about the tensions brewing in the American colonies. The union of Helen and Paris led to the Trojan war, and the shadow falling over Cupid's face at the center of this painting may reflect West's fear of war between the monarch and his subjects across the Atlantic.
23. SIPGPA_130504_440.JPG: Hermia and Helena, before 1818 Washington Allston Washington Allston said that this painting represented "the singleness and unity of friendship." He posed the two women so that they suggest one figure, and they read from a shared book. In Shakespeare's comedy A Midsummer Night's Dream, Helena eloquently describes her friendship with Hermia in the third act: "So we grew together, / Like to a double cherry . . . / Two lovely berries moulded on one stem." Like many Americans of his time, Allston was educated in the classics. He painted Hermia and Helena in England when the poet Samuel Taylor Coleridge was reviving Shakespeare's plays. A friend of Allston's, Coleridge felt that Shakespeare expressed human sentiment perfectly.
24. SIPGPA_130504_455.JPG: The Subsiding of the Waters of the Deluge, 1829 Thomas Cole
25. SIPGPA_130504_466.JPG: Black Knife, an Apache Warrior, 1846 John Mix Stanley
26. SIPGPA_130504_475.JPG: Buffalo Hunt on the Southwestern Prairies, 1845 John Mix Stanley
27. SIPGPA_130504_484.JPG: Osage Scalp Dance, 1845 John Mix Stanley
28. SIPGPA_130504_493.JPG: A General View of the Falls of Niagara, 1820 Alvan Fisher
29. SIPGPA_130504_503.JPG: The Great Horseshoe Fall, Niagara, 1820 Alvan Fisher
30. SIPGPA_130509_006.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.
31. SIPGPA_130509_011.JPG: Summertime, 1880 Winslow Homer
32. SIPGPA_130509_020.JPG: Boys in a Dory, 1880 Winslow Homer
33. SIPGPA_130509_029.JPG: Fishing Boats at Gloucester, 1901 John Henry Twachtman
34. SIPGPA_130509_038.JPG: Ponte Santa Trinita, 1897 Childe Hassam
35. SIPGPA_130509_047.JPG: In the Garden (Celia Thaxter in Her Garden), 1892 Childe Hassam
36. SIPGPA_130509_058.JPG: A Family of Birches, 1907 Willard L. Metcalf
37. SIPGPA_130509_067.JPG: Round Hill Road, c 1890-1900 John Henry Twachtman
38. SIPGPA_130509_077.JPG: Tanagra (The Buildings, New York), 1918 Childe Hassam In Tanagra (The Builders, New York), Childe Hassam painted an ambivalent image of modern life. At the turn of the twentieth century, the skyscraper symbolized all that was dynamic and powerful in America. Architects praised the new towers as symbols of mankind's reach for the heavens. But as the United States grew in power and prestige, the workers who provided the nation's muscle also seemed to threaten Hassam's orderly and prosperous world. The artist had won fame and fortune picturing New York for the delight of its moneyed class; the art, music, and fine manners surrounding this "blond Aryan girl" provided a buffer against the unruliness of America's immigrant society. If the skyscraper represents worldly ambition, the other vertical elements in the painting -- the lilies, the Hellenistic figurine, the panels of a beautiful oriental screen -- suggest a different kind of aspiration. But in 1918, the refined life this woman pursued in her elegant environment was already under attack by the reality of war and the clamor of a new century.
39. SIPGPA_130509_086.JPG: An Aesthetic Life: Thomas Wilmer Dewing said that his paintings belonged "to the poetic and imaginative world where a few choice spirits live." He lived in Cornish, New Hampshire, in a colony of artists who carefully shaped their daily lives into a series of aesthetic moments. Dewing designed the interiors of his home, selected the frame that perfectly suited each painting, and chose the clothes his guests wore, creating a seamless environment that expressed his artistic vision. At Cornish, a party or a picnic in the woods resembled the murals of gods and shepherdesses favored by decorators during the Gilded Age. But Dewing's paintings also signal a shift into a more modern culture: his self-possessed women turn away from us, absorbed in their own pursuit. They are not just ornaments, but modern women who participate in the shaping of their world.
40. SIPGPA_130509_092.JPG: Spring, 1890 Thomas Wilmer Dewing
41. SIPGPA_130509_100.JPG: The Hermit Thrush, 1890 Thomas Wilmer Dewing
42. SIPGPA_130509_110.JPG: The Necklace, c 1907 Thomas Wilmer Dewing
43. SIPGPA_130509_118.JPG: In the Garden, 1892-94 Thomas Wilmer Dewing
44. SIPGPA_130509_128.JPG: The Spinet, c 1902 Thomas Wilmer Dewing
45. SIPGPA_130509_142.JPG: Music, c 1895 Thomas Wilmer Dewing
46. SIPGPA_130509_152.JPG: Lady in White (No. 2), c 1910 Thomas Wilmer Dewing
47. SIPGPA_130509_162.JPG: A Reading, 1897 Thomas Wilmer Dewing
48. SIPGPA_130803_09.JPG: Spanish Dancer, about 1879-82 John Singer Sargent
49. SIPGPA_130803_21.JPG: Snow Fields (Winter in the Berkshires), 1909 Rockwell Kent
50. SIPGPA_130803_27.JPG: House in Italian Quarter, 1923 Edward Hopper
51. SIPGPA_130912_001.JPG: Elihu Vedder Volterra, 1860
52. SIPGPA_130912_008.JPG: William Stanley Haseltine Lago Maggiore, about 1867
53. SIPGPA_130912_022.JPG: William Tolman Carlton Italian Scene, 1860
54. SIPGPA_130912_027.JPG: Sanford Robinson Gifford Villa Malta, Rome, 1879
55. SIPGPA_130912_035.JPG: Frederick Edwin Church Cotopaxi, 1855
56. SIPGPA_130912_044.JPG: Aurora Borealis (1865) Frederic Edwin Church. The ship and sled team in this image belonged to Frederic Church's friend, polar explorer Dr. Isaac Hayes. In 1859, Church accompanied Hayes on an expedition to the Arctic, where he made the sketches for this painting. They returned from their voyage to find the country in the thick of the Civil War, and Hayes vowed in a rousing speech, "God willing, I trust yet to carry the flag of the great Republic, with not a single star erased from its glorious Union, to the extreme northern limits of the earth." Viewers understood Church's paintings of the northern lights as a symbol of the Union cause, a divine display for the northern states alone to see.
57. SIPGPA_130912_052.JPG: William Bradford Looking Out of Battle Harbor, 1877
58. SIPGPA_130912_062.JPG: Clearing Storm at Gibraltar, about 1860 Samuel Colman
59. SIPGPA_130912_070.JPG: Dover Plains, Duchess County, New York, 1848 Asher B. Durand
60. SIPGPA_130912_083.JPG: Robert S. Duncanson Landscape with Rainbow, 1859
61. SIPGPA_130912_090.JPG: John Frederick Kensett Along the Hudson, 1852
62. SIPGPA_130912_099.JPG: Village Scene near Albany, New York, 1850 James H. Hart
63. SIPGPA_130912_107.JPG: River View with Hunters and Dogs, about 1850 Thomas Doughty
64. SIPGPA_130912_116.JPG: Sunrise in the Sierras, about 1872 Albert Bierstadt
65. SIPGPA_130912_125.JPG: Alaskan Coast Range, about 1889 Albert Bierstadt
66. SIPGPA_130912_135.JPG: Whiteface Mountain from Lake Placid, 1866 Sanford Robinson Gifford
67. SIPGPA_130912_144.JPG: Lake Scene, 1875 Edward L. Custer
68. SIPGPA_130912_172.JPG: Albert Bierstadt Gates of the Yosemite, about 1882
69. SIPGPA_130912_174.JPG: Albert Bierstadt Cathedral Rocks, Yosemite Valley, about 1872
70. SIPGPA_130912_199.JPG: Albert Bierstadt Seal Rocks, San Francisco, 1872
71. SIPGPA_130912_215.JPG: Unidentified Artist On the Ohio River, about 1840
72. SIPGPA_130912_231.JPG: Thomas Chambers Capture of HBM Frigate Macedonian by US Frigate United States, October 25, 1812, 1852
73. SIPGPA_130912_236.JPG: Alfred Thompson Bricher Castle Rock, Marblehead, 1878
74. SIPGPA_130912_245.JPG: Thomas Hiram Hotchkiss Torre di Schiavi, 1865
75. SIPGPA_130912_253.JPG: Robert S. Duncanson Pompeii, 1871
76. SIPGPA_130912_269.JPG: Robert S. Duncanson Pompeii, 1855
77. SIPGPA_130912_276.JPG: Worthington Whittredge The Amphitheatre of Tusculum and Albano Mountains, Rome, 1860
78. SIPGPA_130912_283.JPG: Charles S. Raleigh The Yacht America, 1877
79. SIPGPA_130912_291.JPG: Unidentified Artist Landscape (possibly of Staten Island, New York), about 1850
80. SIPGPA_130912_298.JPG: Samuel Colman Storm King on the Hudson, 1866
81. SIPGPA_130912_316.JPG: James Hamilton Burning Oil Well at Night, near Rouseville, Pennsylvania, about 1861
82. SIPGPA_130912_324.JPG: George Catlin Prairie Bluffs Burning, 1832
83. SIPGPA_130912_334.JPG: George Catlin Prairie Meadows Burning, 1832
84. SIPGPA_130912_346.JPG: George Catlin Indian Family Alarmed at the Approach of a Prairie Fire, 1846-48
85. SIPGPA_130912_358.JPG: Albert Bierstadt Indians in Council, California, about 1872
86. SIPGPA_130912_367.JPG: Charles Christian Nahl and August Wenderoth Miners in the Sierras, 1851-52
87. SIPGPA_130912_380.JPG: Thomas Cole The Subsiding of the Waters of the Deluge, 1829
88. SIPGPA_130912_392.JPG: John Mix Stanley Ko-rak-koo-kiss, a Towoccono Warrior, 1844
89. SIPGPA_130912_401.JPG: John Mix Stanley Black Knife, an Apache Warrior, 1846
90. SIPGPA_130912_410.JPG: John Mix Stanley Buffalo Hunt on the Southwestern Prairies, 1845
91. SIPGPA_130912_418.JPG: John Mix Stanley Osage Scalp Dance, 1845
92. SIPGPA_130912_433.JPG: Alvan Fisher A General View of the Falls of Niagara, 1820
93. SIPGPA_130912_441.JPG: Alvan Fisher The Great Horseshoe Fall, Niagara, 1820
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