BGuthrie Photos: TN -- Chattanooga -- Hunter Museum -- Mansion artwork

TN -- Chattanooga -- Hunter Museum -- Mansion artwork:

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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. HUNTEM_110915_014.JPG: Charles Elliott Maria Howe (Mrs. Joseph Howe), 1847
2. HUNTEM_110915_022.JPG: Charles Elliott Joseph Howe, 1847
3. HUNTEM_110915_026.JPG: A New America: 1730-1850: As soon as the United States declared its independence from Great Britain, Americans created images to symbolize the new nation. Buildings grew classical columns to remind us that our democratic government was borrowed from ancient Greece and Rome, battleships were celebrated as relics of American strength and the Bald Eagle was adopted to represent our country's strength and pursuit of liberty. In some cases, our founding fathers themselves became enduring symbols of America. Most Americans today can recognize George Washington, from his picture on the one-dollar bill or his portrait in museums. Americans who were less well known also used art to symbolize both national and personal success stories. American and European artists developed a growing market for portraits that showed an individual's status and class.
4. HUNTEM_110915_032.JPG: James Peale Charles Poulson, c 1808
5. HUNTEM_110915_038.JPG: Thomas Sully Juvenile Ambition (also known as Grandfather's Hobby), 1825
6. HUNTEM_110915_044.JPG: Unknown Teapot, mid-19th century
7. HUNTEM_110915_047.JPG: Thomas Sully Martha Wade Young (also known as Mrs. Benjamin Young), 1835
8. HUNTEM_110915_066.JPG: Samuel F. B. Morse Mrs. George Watson, c 1825
9. HUNTEM_110915_071.JPG: Edward Moran Burning of the Philadelphia, c 1897
10. HUNTEM_110915_092.JPG: Fitz Henry Lane The "Constitution" in Boston Harbor, c 1848-1849
11. HUNTEM_110915_102.JPG: Robert Salmon An Action Off Dunkerque on July 7th, 1800
12. HUNTEM_110915_115.JPG: Rembrandt Peale Portrait of George Washington, no date
13. HUNTEM_110915_129.JPG: Ammi Phillips Woman Holding a Hymnbook, c 1826
14. HUNTEM_110915_137.JPG: John Trumbull Bartholomew Dandridge,c 1800
15. HUNTEM_110915_151.JPG: Racial Stereotypes in American Culture: Americans have long used images as powerful tools to communicate ideas about our diverse nation. Popular culture, music and fine art often represented African Americans in terms of racial stereotypes, reinforcing false belief systems. Countering this, numerous positive images represented the diverse strengths and realities of African Americans. This wide range of images circulated broadly from just before the Civil War until the Civil Rights Movement in the 1960s. As you explore this nook, consider the representations shown here in the context of other images you've seen in the past and perhaps still see in culture today.
16. HUNTEM_110915_173.JPG: Lilly Martin Spencer The Young Husband: First Marketing, c 1854
17. HUNTEM_110915_179.JPG: William C. A. Frerichs Summer in the Tennessee Valley, c 1860
18. HUNTEM_110915_188.JPG: Thomas Cole Cabin in the Woods, c 1848
19. HUNTEM_110915_203.JPG: America After the War: 1865-1900: Great change followed in the wake of the Civil War. Northerners and Southerners alike began to search their souls to cope with these changes. Some Americans looked for comfort in religion and in the spiritualist movements of the day. Writers such as Emily Dickinson and Stephen Crane looked for deeper truths in their hearts. Likewise, visual artists began to look inwards and this can be seen in their paintings. The bold landscape and the family captured in a humorous moment no longer seemed to represent the country. Instead, quiet scenes and images of people sitting and thinking grew in popularity.
20. HUNTEM_110915_210.JPG: George Inness Rosy Morning, 1894
21. HUNTEM_110915_218.JPG: Julian Alden Weir Portrait of Helen Weir Sturgis, 1878
22. HUNTEM_110915_233.JPG: Charles Hawthorne The Fish, The Bottle, and The Boy, 1926
23. HUNTEM_110915_239.JPG: Richard LaBarre Goodwin The Huntsman's Door, c 1890
24. HUNTEM_110915_259.JPG: Asher B. Durand A Symbol, 1856
25. HUNTEM_110915_274.JPG: William C. A. Frerichs Storm in the Tennessee Valley, c 1860
26. HUNTEM_110915_296.JPG: 1865 By the end of the 1830s Chattanooga was an established town, but it changed significantly during the Union occupation from 1863 to 1865. As seen in this photo, most of the trees were cut down leaving the city raw and barren looking. The army used the lumber to build a federal garrison including a bridge, barracks and warehouses. Cameron Hill, on the right, was named for the artist James Cameron, who did the large portrait of the Whiteside family now in the Hunter collection (in Gallery 11). Before the war, the artist acquired property on the hill and built a residence there.
27. HUNTEM_110915_297.JPG: 1907 By the turn of the twentieth century, Chattanoogans had rebuilt their city and dubbed it the "dynamo of Dixie" to reflect the city's industrial might. Heavy industry -- notably iron production -- was the economic base of the city. Cameron Hill, in the near background here, was not only reforested. It was also the site of prestigious residential homes, and for a few years, a recreational complex including a casino and a beer garden.
28. HUNTEM_110915_302.JPG: 1964 By 1960, Chattanooga leaders determined that the city should be part of the national interstate system. The choice was made to bring the interstate through the west end of downtown at the foot of Cameron Hill. By this time, the Cameron Hill neighborhood consisted of some fine homes with large swaths of dilapidated housing. In this photo, Cameron Hill (at center right) is in the process of being cleared of trees and leveled. Hundreds of houses were torn down and the top of the hill was lowered by 160 feet, with the material used as fill dirt for the freeway.
29. HUNTEM_110915_304.JPG: Sanford Robinson Gifford A Home in the Wilderness, c 1867
30. HUNTEM_110915_310.JPG: Our American Land: 1830-1890: In the early nineteenth century artists, poets and politicians saw America's vast land as an embodiment of her great potential. Here was a lush, pure wilderness free from the bonds of European traditions where people could come to live in peace and prosperity. Seen by many as a truly American art form, these early landscapes filled people with a sense of America's glory. Paintings ranged from quiet lakeside scenes to awe-inspiring mountain vistas. Artists and viewers saw the presence of God in nature and in those paintings. "Go West" echoed throughout the land as waves of explorers and settlers moved across the country. Many believed that as Americans it was their right and duty to settle the land. Viewing the entire continent as a God-given gift, they moved further and further west, often coming into conflict with American Indians who also loved the land but had very different values.
31. HUNTEM_110915_332.JPG: Thomas Cole View Near Volterra, Italy, c 1831
32. HUNTEM_110915_344.JPG: Edward Moran English Coastal Scene, undated
33. HUNTEM_110915_355.JPG: James Earle Fraser End of the Trail, 1915
34. HUNTEM_110915_361.JPG: Albert Bierstadt Across the Prairie, 1864
35. HUNTEM_110915_377.JPG: Artists React to Immigration: Charles Blauvelt came of age as an artist during the height of immigration in the US. Between 1840 and 1860, 4 million immigrants entered this country. In mid-nineteenth century America, newspaper cartoonists such as Thomas Nast frequently depicted immigrants, often in a negative light. However, artists from the same period rarely painted scenes of immigrants or immigration. Perhaps they did not deem them as a subject worthy of their consideration, or, just as importantly, a subject that would not be attractive to their patrons or the academies where they exhibited their work. Charles Blauvert was an exception to this rule. He was primarily known as an artist of everyday urban scenes and particularly for his paintings featuring immigrants in a positive manner. Unfortunately, there is no material to indicate why the artist chose to depict immigrants when other artists did not. Nor is there any documentation indicating his own political inclinations or feelings towards the nation's newest residents.
36. HUNTEM_110915_379.JPG: Charles F. Blauvelt The Immigrants, c 1850 Not all artists showed immigrants in such a negative light. For Charles Blauvelt, immigrants' stories were those of courage in the face of adversity. In his work The Immigrants, the dramatically lit woman holds an infant child, referencing religious paintings of the Madonna and child. A second child points out to the viewer. This family is meant to arouse sympathy.
37. HUNTEM_110915_385.JPG: Immigration: During Blythe's lifetime, the promises of a better way of life in America drew many immigrants to our shores. Pittsburgh, where Blythe lived, had a weak economy and could not absorb the constant increase in immigrant labor. As a result, labor riots and strikes were common. A common conviction among the native-born Pittsburgh residents was that immigrants brought poverty, drunkenness, crime and disease. Blythe states that society was comprised of three classes: the "washed, unwashed, and unterrified." His negative view of immigrants is quite clear in his depiction of the Irishman in Land of Liberty as poor, dirty, and belligerent.
38. HUNTEM_110915_393.JPG: The Know Nothings: Blythe was politically opposed to Democrats and to Abolitionists. He supported Millard Fillmore, the presidential candidate of the American Party, in 1856. Even though Blythe was the son of immigrants, he allied himself with this nativist political movement. The American Party vowed to reduce the political influence of immigrants and Catholics, while at the same time making sure that new arrivals conformed to true American ideals. Critics named it the Know-Nothing Party because its members would not disclose the party's doctrines to non-members. They responded to questions about their beliefs with, "I know nothing." In letters written to a friend in 1856 and 1857, Blythe shows a deep aversion to the American political system and to the Irish, Germans, and African Americans. Due to the fact that they were uneducated, he believed that immigrants and African Americans were not informed enough about the political process and could be easily taken in by unethical politicians. Therefore, they should be left out of the political process. Why would Blythe, a supporter of a political party that supported racial, cultural and religious intolerance, choose to compare a cigar-store Indian favorably to an Irish immigrant? Both artistic and nativist influences led him to do so: the Indian was a leading patriotic symbol in American art of the 18th and 19th century, and, as such, Indian ceremony and regalia became trademarks of nativist secret societies.
39. HUNTEM_110915_395.JPG: Annotations: David Gilmour Blythe's Land of Liberty: David Gilmour Blythe's Land of Liberty in Context: This exhibition focuses on David Gilmour Blythe's Land of Liberty, a painting from The Columbus Museum in Columbus, GA. This exhibition also features the Hunter Museum painting, The Immigrants, which provides an important counterpoint to the Blythe. Blythe's Land of Liberty is rich in nineteenth century details and symbolism and is an excellent example of social satire. It shows an Irish immigrant who has just gotten off a trans-Atlantic ship. The first person he meets is a cigar-store Indian, who has come to life to offer him a peace pipe of "native leaf" to replace his typical Irish clay pipe filled with foreign tobacco. Blythe uses long-standing stereotypes about Native Americans and the Irish to make a political statement about immigration in the mid-nineteenth century. The Hunter Museum's painting The Immigrants, by Charles Blauvert, offers an alternate and more positive view of immigration. The exhibition further explores these issues and placed Land of Liberty in historical context by examining Blythe's life and work, the nativist movement, and depictions of the Irish and Native Americans in the nineteenth century and beyond.
40. HUNTEM_110915_403.JPG: David Gilmour Blythe Land of Liberty, ca 1858-1860
41. HUNTEM_110915_407.JPG: David Gilmour Blythe: David Gilmour Blythe was born in East Liverpool, Ohio, the fourth of six sons from parents of Scottish and Irish origin. Blythe spent his childhood living in a log cabin by the Ohio River. When he was 16, his family sent him to Pittsburgh, Pennsylvania to apprentice with Joseph Woodwell, a woodcarver and cabinetmaker. After six months, he joined the Navy in New York, and for several years sailed throughout Gulf of Mexico and the Caribbean. Blythe returned to East Liverpool in 1840 and renewed his artistic pursuits. His earliest known paintings are about a dozen portraits produced between 1841 and 1846; he also carved a statue of General Lafayette in 1847-48. Blythe moved to Pittsburgh in 1856, and turned away from portraiture to concentrate on scenes that highlighted social and political issues. His best paintings offer satirical commentary on what he felt to be a falling judicial system, a corrupt political system, middle-class pretensions, and the hard life of the urban poor. Blythe's work never gained national recognition in his lifetime. He died in 1865 from complications of alcoholism.
42. HUNTEM_110915_413.JPG: Irish Stereotypes: Land of Liberty includes racial stereotypes of the Irish in the immigrant's costume: the ragged and patched clothes, derby hat, clay pipe, and the shillelagh, a fighting club, which identifies him as one of the "fighting Irish." Blythe's depiction also contains other indications of the reputed belligerence of the Irish: a bulging jaw and pug nose. Physiognomy, a popular scientific theory in the 19th century, contends that there is a direct relationship between physical appearance and moral character. According to this theory, a prognathus, or bulging, jaw is an indication of savagery. In the 1840s, the projecting lower jaw began to be seen as a particularly Irish trait. At this time, thousands of poor Irish immigrants were pouring into England and Scotland, and Irishmen were agitating for Catholic emancipation. Between 1840 and 1890, depictions of the Irish in popular media in England and America became increasingly simian, or ape-like. ...
43. HUNTEM_110915_426.JPG: Shillelagh unknown maker A shillelagh is a fighting club made from a heavy, knotty stick, with a large knob at the top. Originally used for settling disputes in a gentlemanly manner, the shillelagh eventually became a symbol of stereotypically violent Irish behavior. The weapons were prominent in the fights between Irish gangs in New York in the 19th century.
44. HUNTEM_110915_430.JPG: "The Crescent Wash-Board" trade card c 1890-1910
45. HUNTEM_110915_434.JPG: "An Irishman Was Made to Love and Fight" sheet music, (c) 1918 The concept of the violent Irishman persisted into the 20th century, as illustrated by the battered appearance of the Irishman in the trade card (with his ubiquitous pipe) and the title of the song on this sheet music.
46. HUNTEM_110915_442.JPG: Native Americans: Depictions of Native Americans can be found throughout American art history. European artists had used a Native American figure to represent the New World on maps, prints, ceramics and textiles. Colonists in America adopted the convention, and the Native American became a patriotic symbol. In 1773, for instance, Boston Tea Party participants disguised themselves as Indians.
47. HUNTEM_110915_444.JPG: During the early decades of the 19th century, artists envisioned Indians as a brave, proud people who lived a life of liberty, simplicity and innocence. As Native Americans were forced off their lands and sent westward, the theme of the American Indian as a member of a vanishing race took hold. No longer a direct threat to American living in the East, the Indian became a picturesque symbol of the promised land of the United States.
48. HUNTEM_110915_448.JPG: "Old English Tobacco", 1899 Dudeens (from the Irish duidin, a little pipe, from dud, pipe) are ever-present in stereotypical depictions of the Irish in the 19th century. Churchwardens, or long clay pipes, such as the one seen in this tobacco advertisement, were preferred by the middle and upper classes. The length of the pipe allowed the smoke to cool down before it hit the smoker's mouth. The long pipe was often used in communal smoking in taverns; the end was bitten off before being placed on the fireplace mantle, where it would be picked up by the next user.
49. HUNTEM_110915_454.JPG: A Tale of Two Pipes: Both figures in Land of Liberty are holding pipes: the cigar-store Indian has a calumet, commonly called a peace pipe, and the Irishman is smoking a clay pipe. The Indian's pipe is filled with the "native leaf" of the New World that is nailed to the doorway of the shop; he clearly prefers his brand to the foreign, and perhaps stinking, variety smoked by the Irishman.
50. HUNTEM_110915_457.JPG: Everett Erks Calumet, 2009 A calumet is a ceremonial smoking pipe used by some Native Americans. Traditionally, it has been smoked to offer prayers in a religious ceremony, or to finalize a promise or treaty. As it is a sacred object, it was not possible to borrow an authentic example for this exhibition. The piece on display here is modern and has never been used in a ceremony.
51. HUNTEM_110915_468.JPG: Cigar-Store Indians: Since the 17th century, European tobacconists had advertised their shops using figures of American Indians, symbols of the New World where tobacco was discovered. These figures were very popular in this country by the 1840s and 1850s, so Blythe would have seen many examples to inspire him. He was familiar with the art of woodcarving from his apprenticeship with Joseph Woodwell and from his experience carving sculpture himself. Blythe's Indian is an example of the noble Indian type. His dignified pose and toga-like draped blankets lend him the air of an ancient Roman sculpture. Squaw, or female, figures like the one on display here were also common cigar-store Indian types. They tend to be attractive figures of the noble Indian type.
52. HUNTEM_110915_470.JPG: Cigar-store Indian, unknown date
53. HUNTEM_110915_480.JPG: Southern Furniture and Paintings, 1810-1880: The paintings and furniture in this gallery provide a window into life in nineteenth century Tennessee. Most of the furniture dates to early in the century. It is simple, without much ornamentation, since it was made far from the larger cities and their sophisticated styles. It was built for middle class families by local craftsmen using native woods. The painters were done later, as you might expect. Early residents needed homes and furniture. With the luxury of a more settled life came the desire for paintings to decorate their walls. The paintings also tell stories of developing towns and the prominent families who helped shape them.
54. HUNTEM_110915_483.JPG: Flavius James Fisher The View of Knoxville, 1871
55. HUNTEM_110915_491.JPG: The Jackson Press True Tennessee Furniture
56. HUNTEM_110915_506.JPG: James Hope Chattanooga from Lookout Mountain, 1878
57. HUNTEM_110915_527.JPG: Moccasin Bend Souvenir Plate c 1900, Lookout Mountain
58. HUNTEM_110915_536.JPG: James Cameron Colonel and Mrs. James A Whiteside, Son Charles and Servants, c 1858-1859 A wealthy and influential man, Colonel Whiteside helped build Chattanooga and made his fortune through railroads. In the city that spreads out behind him, we can see a railroad chugging through the landscape in the lower right. The family sits on the veranda of a hotel Whiteside had built on Lookout Mountain just a year before this was painted. In addition to the three family members, two of their five slaves are included in the painting. This painting helps tell the story of life in the South on the eve of the Civil War. How do you think it might have looked if Cameron had painted the scene four years later, after the battles of 1863?
59. HUNTEM_110915_557.JPG: James Cameron View of Moccasin Bend, Chattanooga, 1857
60. HUNTEM_110915_560.JPG: Colonel Whiteside built the Lookout Mountain Hotel in 1857. Though a handsome building, it did not have the marble railing or black and white tiled floor shown in the painting. This is an example of artistic license taken by the artist to flatter his sitter. Another may be seen in the very high style table between Whiteside and his wife. While the Whitesides were wealthy enough to afford such an expensive piece, it is unlikely that they would have had one of their veranda.
61. HUNTEM_110915_564.JPG: Colonel Whiteside built the Lookout Mountain Hotel in 1857. Though a handsome building, it did not have the marble railing or black and white tiled floor shown in the painting. This is an example of artistic license taken by the artist to flatter his sitter. Another may be seen in the very high style table between Whiteside and his wife. While the Whitesides were wealthy enough to afford such an expensive piece, it is unlikely that they would have had one on their veranda.
62. HUNTEM_110915_572.JPG: Paul Trebilcock Portrait of George Thomas Hunter, 1954
63. HUNTEM_110915_579.JPG: Everyday Americans 1830-1900: The nineteenth century was a period of great hope and optimism inspired by President Andrew Jackson and his vision of westward expansion. The promise of opportunity for all Americans led artists to paint well-established Americans and new immigrants, women and children, rich and poor. By comparing the more casual settings of the paintings in this gallery with the more formal portraits in "A New America" you'll get two very different views of America and Americans in the nineteenth century. These paintings of commonplace events celebrate the joy, spirit and opportunity enjoyed by everyday Americans, the same Americans that Jackson represented in his presidency.
64. HUNTEM_110915_583.JPG: John Quidor Peter Stuyversant Watching the Festivities on the Battery (also known as Dance on the Battery), c 1860
65. HUNTEM_110915_597.JPG: Winslow Homer Girl on a Swing, 1879
66. HUNTEM_110915_605.JPG: Alfred Jacob Miller Trapper's Bride, early 1840s Trapper's Bride shows a view of Native American and Euro-American interaction in the 1800s. In the painting, Alfred Jacob Miller presents a romantic image of a young bride and groom. Does it seem consistent with this entry from his diary? The prices [for a bride] varying in accordance with circumstances... The price of acquisition, in this case, was $600 paid for in the legal tender of this region: viz: Guns, $100 each, Blankets, $40 each, Red Flannel $20 pr. yard, Alcohol $64 pr. Gal., Tobacco, Beads &c. at corresponding rates... It is conceded that he is a ruined man after such an investment, the lady running into unheard-of extravagancies. She wants a dress, a horse, gorgeous saddle and trappings... For this the poor devil trapper sells himself, body and soul, to the Fur Company for a number of years. -- Alfred Jacob Miller
67. HUNTEM_110915_615.JPG: Randolph Rogers Ruth Gleaning, 1851
68. HUNTEM_110915_628.JPG: Eastman Johnson Grandpa's Pastime, 1867
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Wikipedia Description: Hunter Museum of American Art
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The Hunter Museum of American Art is an art museum in Chattanooga, Tennessee. The museum's collections include works representing the Hudson River School, 19th century genre painting, American Impressionism, the Ashcan School, early modernism, regionalism, and post World War II modern and contemporary art.

The museum is situated on an 80-foot bluff overlooking the Tennessee River and downtown Chattanooga. The building itself represents three distinct architectural stages: the original 1904 classical revival mansion which has housed the museum since its opening in 1952, a brutalist addition built in 1975, and a 2005 addition designed by Randall Stout which now serves as the entrance to the museum. With the 2005 expansion, the Hunter extended toward downtown. The Ruth S. and A. William Holmberg Pedestrian Bridge provides a pedestrian-friendly connection to the nearby Walnut Street Bridge and riverfront attractions. The glass bridge allows pedestrians to cross over Riverside Drive.

The Hunter Museum is named after George Hunter who inherited the Coca-Cola Bottling empire from his uncle Benjamin Thomas.
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