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

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

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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. WCMFA_120203_016.JPG: Marcantonio Bassetti Portrait of a Gentleman Writing, c 1621
2. WCMFA_120203_023.JPG: Francesco Beccaruzzi David with the Head of Goliath, 1530s
3. WCMFA_120203_033.JPG: Domenico Tintoretto Portrait of Antonio Dandolo, c 1580s
4. 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
5. WCMFA_120203_057.JPG: Pierre Mignard Christ and the Woman of Samaria, c 1691
6. WCMFA_120203_063.JPG: Erasmus Quiellinus Christ Blessing the Children, c 1630s
7. WCMFA_120203_078.JPG: Giovanni Mazone Saints Mary Magdalene and Paul, c 1480s
8. WCMFA_120203_084.JPG: Domenico Campagnola The Magdalena
9. WCMFA_120203_094.JPG: Battista Zelotti The Finding of Moses, c 1565
10. WCMFA_120203_103.JPG: Ernest Wynants Scherzo, 1933
11. WCMFA_120203_108.JPG: Thomas Sully Portrait of Daniel Webster
12. WCMFA_120203_114.JPG: William Henry Singer, Jr. The Sun's Last Rays, 1930
13. WCMFA_120203_120.JPG: Jacob Dooijewaard Endormi, 1926
14. WCMFA_120203_130.JPG: Isidore Opsomer Portrait of William Henry Singer, Jr.
15. WCMFA_120203_135.JPG: Antonio Tobias Mendez Solitaire?, 1999
16. WCMFA_120203_145.JPG: Norman Rockwell The Oculist, 1956
17. WCMFA_120203_157.JPG: Rachel Ellen Dorsey George Washington Mourning Embroidery, 1816
18. 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.
19. 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.
20. 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.
21. 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.
22. 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.
23. WCMFA_120203_197.JPG: Thomas Moran Lower Manhattan from Communipaw, New Jersey, 1880
24. 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.
25. 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.
26. 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.
27. 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.
28. 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.
29. WCMFA_120203_243.JPG: George Innes The Coming Storm, 1876
30. 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.
31. 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.
32. 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.
33. WCMFA_120203_274.JPG: Paul Wayland Bartlett Benjamin Franklin, 1913
34. 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.
35. 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.
36. 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.
37. 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.
38. WCMFA_120203_309.JPG: Gerolamo Bassano The Sepulchre, early 17th century
39. WCMFA_120203_316.JPG: Timoteo Viti Self-Portrait, 1509
40. WCMFA_120203_322.JPG: Emile Antoine Bourdelle Bust of Beethoven with Hands
41. WCMFA_120203_353.JPG: William Henry Singer, Jr. Autumn Birches, 1926
42. 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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2012 photos: Trips this year: three Civil War Trust conferences (Shepherdstown, WV, Richmond, VA, and Williamsburg, VA), a week-long family reunion cruise of the Caribbean, another week-long family reunion in the Wisconsin Dells (with lots of in-transit time in Ohio and Indiana), and my 7th consecutive San Diego Comic-Con trip (including side trips to Zion, Bryce, the Grand Canyon, etc). Ego strokes: I had a picture of Miss DC, Ashley Boalch, published in the Washington Post. I had a photograph of the George Segal San Francisco Holocaust memorial used as the cover of Quebec Francais (issue 165). Not being able to read French, I'm not entirely sure what the article is about but, hey! And I guess what could be considered to be a positive thing, my site is now established enough that spammers have noticed it and I had to block 17,000 file description postings for Viagra and whatever else.. Equipment this year: My mainstays were the Fuji S100fs, Nikon D7000, and the new Fuji X-S1. I also used an underwater Fuji XP50 and a Nikon D600. The first three cameras all broke this year and had to be repaired. Number of photos taken this year: just below 410,000.
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