BGuthrie Photos: VA -- Richmond -- Virginia Museum of Fine Arts -- American

VA -- Richmond -- Virginia Museum of Fine Arts -- American:

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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. VMFAU1_130209_003.JPG: Philip Evergood Street Corner, 1936
2. VMFAU1_130209_018.JPG: Steve Wheeler The Halogens, 1942
3. VMFAU1_130209_026.JPG: Paul Arlt War's End, 1946
4. VMFAU1_130209_044.JPG: Philip Guston The Sculptor, 1943
5. VMFAU1_130209_055.JPG: Rockwell Kent Greenland Summer, 1932
6. VMFAU1_130209_064.JPG: Beauford Delaney Marian Anderson, 1965
7. VMFAU1_130209_081.JPG: Elihu Vedder The Cup of Death, 1885
8. VMFAU1_130209_104.JPG: Edwin Lord Weeks The Hour of Prayer at Moti Mushid (The Pearl Mosque), Agra, c 1888-89
9. VMFAU1_130209_122.JPG: Edward M. Bannister Moonlight Marine, 1885
10. VMFAU1_130209_133.JPG: Henry Ossawa Tanner Christ and His Disciplines on the Sea of Galilee, ca 1910
11. VMFAU1_130209_145.JPG: Francis Davis Millet A Spring Offering, 1884
12. VMFAU1_130209_156.JPG: Designed and manufactured by Louis C. Tiffany and Company, Associated Artists Trifold Screen, ca 1881
13. VMFAU1_130209_173.JPG: Henry Prellwitz Lotus and Laurel, 1904
14. VMFAU1_130209_184.JPG: Frederick Macmonnies Bacchante and Infant Faun, modeled 1893, cast 1895
15. VMFAU1_130209_194.JPG: Frederick Macmonnies Self-Portrait, 1897
16. VMFAU1_130209_204.JPG: Thomas Eakins Miss Eleanor S.F. Pue, 1907
17. VMFAU1_130209_215.JPG: Stanton Macdonald-Wright Chinese Pipe and Tulips, 1926
18. VMFAU1_130209_228.JPG: Georgia O'Keefe White Iris, 1930
19. VMFAU1_130209_241.JPG: Arthur Dove Mars Orange and Green, 1935
20. VMFAU1_130209_253.JPG: Max Weber Black Chair, 1922
21. VMFAU1_130209_264.JPG: Paul Manship Flight of Europa, 1925
22. VMFAU1_130209_279.JPG: Oswaldo Guayasamin Cartuchos (Lilies), 1949
23. VMFAU1_130209_293.JPG: Bumpei Usui 14th Street, 1924
24. VMFAU1_130209_304.JPG: Diego Rivera Campesinos en el Marcado (Peasants in the Market), 1939
25. VMFAU1_130209_313.JPG: Thomas Hart Benton Brideship (Colonial Brides), ca 1927-28 The painting depicts an episode from the early 1620s when the Virginia Company shipped 147 "younge, handsome, and honestly educated Maides" from England to Jamestown to serve as bridges for the lonely settlers. Newly arrived, a red-haired maiden steps out on the bustling wharf and looks at a small coin in her hand. The game of chance that brought her to the New World -- a metaphorical flip of the coin -- appears to have cast her lot with the man at bottom left, who beckons to her with talon like fingers. The model for the "bride" was Benton's own wife, Rita, who contributed to the family income by making hats. Adding a humorous touch, the colonial maiden wears a fashionable chapeau of the 1920s.
26. VMFAU1_130209_335.JPG: Aaron Douglas The Prodigal Son, ca 1927
27. VMFAU1_130209_344.JPG: Richmond Barthe Paul Laurence Dunbar, 1928
28. VMFAU1_130209_353.JPG: Richmond Barthe Booker T. Washington, 1928
29. VMFAU1_130209_364.JPG: Manierre Dawson Figures in Action (Struggle), 1912
30. VMFAU1_130209_375.JPG: Charles Warren Eaton Glacier Park (Montana), ca 1921
31. VMFAU1_130209_385.JPG: Richard La Barre Goodwin Hunter's Cabin Door, ca 1895
32. VMFAU1_130209_396.JPG: Thomas Moran Bridaveil Fall, Yosemite Valley, 1904
33. VMFAU1_130209_409.JPG: James Earle Frazer Theodore Roosevelt, 1902
34. VMFAU1_130209_412.JPG: James Earle Fraser Theodore Roosevelt, 1902 [I photographed this sign because it was clearly wrong. In the upper right-hand corner, the piece says "19 @ 20" but the sign says it was done in 1902. I wrote to the museum and they agreed that the sign was incorrect and they'd fix it.] Best known for his monuments to Native Americans, the Minnesota-born, South Dakota-raised Fraser began his artistic career producing architectural sculptures for Chicago's 1893 World's Columbian Exposition. Soon after, he sought academic training in France, where he came to the attention of Augustus Saint-Gaudens, America's leading sculptor who was working in Paris at the time. Saint-Gaudens hired Fraser to assist on his gilded equestrian monument to William Tecumseh Sherman, which was destined for New York. The experience had a profound impact on Fraser's future career. This image of America's twenty-sixth president, paired with one of his well-known sayings, dates from the year that Fraser established his own New York studio. It strongly evokes his teacher's celebrated approach to bas-relief portraiture. Fraser likely met Roosevelt through Saint-Gaudens, who, at the president's request, was then designing the famed $20 "double eagle" gold coin, issued in 1907 by the US Mint. Six years later, Frazer himself developed a reputation as a numismatist, producing the so-called Indian head, or buffalo, nickel.
35. VMFAU1_130209_432.JPG: William Wallace Denslow The Home Magazine, 1898
36. VMFAU1_130209_442.JPG: Maxfield Parrish Little Sugar River at Noon, ca 1922-24
37. VMFAU1_130209_455.JPG: Childe Hassam Isles of Shoals (Girls and the Sea, Isles of Shoals), 1912
38. VMFAU1_130209_467.JPG: Daniel Garber Old Church, Carversville, 1916
39. VMFAU1_130209_480.JPG: Childe Hassam The Flag, Fifth Avenue, 1918
40. VMFAU1_130209_491.JPG: Mary Cassatt Child Picking a Fruit, 1893
41. VMFAU1_130209_500.JPG: Frederick Carl Frieseke Blue Interior: Giverny (The Red Ribbons), ca 1912-13
42. VMFAU1_130209_511.JPG: Robert Henri Martche with Hat, 1907
43. VMFAU1_130209_519.JPG: William Glackens Palisades Amusement Park, ca 1931
44. VMFAU1_130209_530.JPG: Robert Henri Her Sunday Shawl, 1924
45. VMFAU1_130209_541.JPG: Samuel Woolf The Under World, ca 1909-10
46. VMFAU1_130209_555.JPG: Maurice Brazil Prendergast New England Street-Salem, ca 1895
47. VMFAU1_130209_560.JPG: Jerome Myers East Side Entertainment, ca 1920
48. VMFAU1_130209_572.JPG: Ernest Lawson Cape Ann, ca 1915
49. VMFAU1_130209_581.JPG: Arthur B. Davies Line of Mountains, ca 1913
50. VMFAU1_130209_590.JPG: Maurice Prendergast Salem, ca 1918
51. VMFAU1_130209_604.JPG: William Wetmore Story Cleopatra, modeled 1858, carved 1865
52. VMFAU1_130209_608.JPG: Junius Brutus Stearns Washington as a Farmer at Mount Vernon, 1851
53. VMFAU1_130209_644.JPG: American Art -- Colonial & Revolutionary Eras: Situated in one of the nation's original thirteen colonies, VMFA's American art collection traces more than three hundred years of cultural exchange and development. From the time of North America's first permanent English colony -- in Jamestown, Virginia -- enterprising portrait painters, artisans, and consumers participated in a dynamic material culture that played a significant role in shaping family and social life. Closely following fashions in Europe (particularly England, France, Germany, and Holland), talented craftsmen from the South, Mid-Atlantic, and New England applied established techniques and styles to native materials, merging tradition and invention. Portraiture, a genre informed by patterns of population growth and widespread assumptions about class and gender, flourished alongside individual residents of Charleston, Williamsburg, Philadelphia, New York and Boston -- British America's leading cultural centers -- affirmed their social status in the emerging nation. Emulating European aristocracy, colonial patrons also encouraged painters to explore so-called Grand Manner themes of heroism and nobility in an emerging neoclassical inspired by Greco-Roman art.
54. VMFAU1_130209_655.JPG: John Trumbull Priam Returning to His Family with the Dead Body of Hector, 1785
55. VMFAU1_130209_673.JPG: Benjamin West Caesar Reading the History of Alexander's Exploits, 1779
56. VMFAU1_130209_684.JPG: John Trumbull Portrait of Captain Samuel Blodget in Rifle Dress, ca 1786
57. VMFAU1_130209_694.JPG: American Art -- Early Republic Era: Following its War of Independence (1775-83), the newly formed United States looked to the ancient civilizations of Greece and Rome in its transformation from diverse colonies and territories to a cohesive nation. Viewing themselves as heirs to antiquity's democratic tenets and traditions, Americans embraced neoclassical themes on a variety of levels -- from a republican structure of government to classical conventions in architecture and the arts. The nation's founding principles of freedom and equality took root despite the fact that they were not extended to the entire population -- particularly Native Americans, African Americans, and women. As a legitimizing federal (or "high") style of national identity emerged, regional (or "vernacular") tendencies continued to assert themselves, especially in decorative art and so-called folk art.
58. VMFAU1_130209_707.JPG: Henry Weber Modeled by William Hackwood Manufactured by Wedgwood Factory Anti-Slavery Trade Medallion
59. VMFAU1_130209_719.JPG: Artist Unknown, called the Payne Limner Alexander Spotswood Payne and his Brother John Robert Dandridge Payne, with Their Nurse, ca 1790-91
60. VMFAU1_130209_732.JPG: Rembrandt Peale George Washington, ca 1840s
61. VMFAU1_130209_741.JPG: Rembrandt Peale John Marshall 1834
62. VMFAU2_130209_001.JPG: Alvan Fisher A Roadside Meeting: Winter, 1815
63. VMFAU2_130209_013.JPG: American Art -- Antebellum Era: The 1828 presidential election of Tennessee frontiersman Andrew Jackson ushered in what is known as the Age of the Common Man. During this era of increasing democracy, westward expansion, and rapid industrialization, artists painted the contemporary scene in an attempt to reach a wider audience. A taste for regional landscape painting seized the American public after 1830, giving rise to the first national art movement, later known as the Hudson River school. At the same time, depictions of ordinary people engaged in daily activities (genre scenes), as well as imaginative portrayals of America's founding fathers, helped the diverse population picture itself as a unified nation -- this despite simmering tensions between pro- and anti-slavery forces. Grounded in ideas of nature and property, self-reliance and progress, American identify also continued to maintain ongoing dialogues with Europe in the form of revivalist styles and Old World subjects.
64. VMFAU2_130209_020.JPG: Fitz Henry Lane View of Gloucester Harbor, 1848
65. VMFAU2_130209_031.JPG: Robert Salmon Dismal Swamp Canal, 1830
66. VMFAU2_130209_065.JPG: Joshua Shaw Natural Bridge No. 1: View from the Arch of the Bridge Looking Down the Creek, Rockbridge County, Virginia, ca 1820
67. VMFAU2_130209_077.JPG: Robert S. Duncanson The Quarry, ca 1855-63
68. VMFAU2_130209_092.JPG: Jasper Francis Cropsey Mr. Jefferson, Pinkham Notch, White Mountains, 1857
69. VMFAU2_130209_109.JPG: Clark Mills Andrew Jackson on Horseback, 1855
70. VMFAU2_130209_126.JPG: Thomas Cole View of Mount Etna, ca 1842
71. VMFAU2_130209_149.JPG: Samuel FB Morse Contadina at the Shrine of the Madonna, ca 1830
72. VMFAU2_130209_160.JPG: George Harvey Scene of the Baltimore & Ohio Railroad and the Chesapeake & Ohio Canal at Harper's Ferry, Virginia, ca 1837-40
73. VMFAU2_130209_178.JPG: William Wetmore Story Cleopatra, modeled 1858, carved 1865 Cleopatra represents the high point of America's taste for neo-classical sculpture in the mid-19th century. Leader of the second generation of expatriate sculptors residing in Italy, Story produced a monumental image of the brooding Egyptian queen. Seated on a throne, she leans back as if to contemplate past and future deeds.
74. VMFAU2_130209_263.JPG: Hiram Powers Fisher Boys, modeled 1841-44, carved ca 1846-50
75. VMFAU2_130209_282.JPG: Civil War & Centennial Eras: American artists of the period rarely pictured the divisive violence and moral discord of this country's Civil War (1861-65) Yet they still found ways to address the conflict and its lingering effects indirectly. Diverse representations of national vistas and personal character both illuminated social tensions and conveyed hope and comfort during the war years. Following the Civil War, the nation's next watershed cultural event -- the 1876 Centennial International Exhibition -- was held in Philadelphia, the birthplace of American democracy. As the country's first world's fair, it celebrated one hundred years of American ingenuity. The thirty-six foreign nations participating also exposed millions of Americans -- who either attended the exhibition or read about it in countless publications -- to the wider world. The fair's English, Japanese, and Near Eastern pavilions attracted large numbers of visitors and introduced a cultural eclecticism that undermined the stylistic dominance of neoclassicism, particularly in the decorative arts.
76. VMFAU2_130209_287.JPG: William Macleod Antietam Bridge, 1864
77. VMFAU2_130209_303.JPG: Alexander Gardner Mathew Brady, publisher The President, General McClellan and Suite on Battle-field of Antietam, 1862
78. VMFAU2_130209_316.JPG: John Rogers Taking the Oath and Drawing Rations, designed 1866
79. VMFAU2_130209_337.JPG: John A. Elder The Scout's Return, ca 1870-90
80. VMFAU2_130209_361.JPG: Edward V. Valentine Study for Recumbent Lee, 1872
81. VMFAU2_130209_378.JPG: George Henry Durrie Winter in the Country: A Cold Morning, 1861
82. VMFAU2_130209_396.JPG: Jervis McEntee Natural Bridge, 1877
83. VMFAU2_130209_406.JPG: Walter Launt Palmer Landscape, 1875
84. VMFAU2_130209_416.JPG: J. Foxcroft Cole French Farm Scene, 1861
85. VMFAU2_130209_431.JPG: Chauncey B. Ives Egeria, 1876
86. VMFAU2_130209_455.JPG: Martin Johnson Heade A Cloudy Day, 1874
87. VMFAU2_130209_465.JPG: William D. Washington Lady Clara de Clare, ca 1869
88. VMFAU2_130209_478.JPG: William Merrit Chase The Wounded Poacher (The Veteran), 1878
89. VMFAU2_130209_496.JPG: Edward L. Henry The Meeting of General Washington and Rochambeau, 1873
90. VMFAU2_130209_507.JPG: George PA Healy Jennie Byrd Bryan, 1874
91. VMFAU2_130209_522.JPG: Julian Alden Weir Anna, 1886
92. VMFAU2_130209_530.JPG: William D. Washington The Last Touch, 1866
93. VMFAU2_130209_543.JPG: Augustus Saint-Gaudens The Puritan, modeled 1883-86, remodeled 1898, this cast by 1903
94. VMFAU2_130209_558.JPG: Moses Ezekiel Thomas Jefferson, modeled 1897, cast ca 1900-1910
95. VMFAU2_130209_581.JPG: Richard Norris Brooke Pocahontas, 1889 and 1907
96. VMFAU2_130209_592.JPG: Charles Caryl Coleman Quince Blossoms, 1878
97. VMFAU2_130209_605.JPG: Frank Vincent Dumond Iris, ca 1895-1902
98. VMFAU2_130209_614.JPG: Gilded Age: American writers Mark Twain and Charles Dudley Warner coined the phrase "the Gilded Age" in their 1873 novel of the same name. Historians have broadly applied the term, with its negative connotations of superficiality and ostentatious wealth, to the decades following the Civil War. The metaphor of gilded surfaces further resonated in the richly decorated possessions of the ruling class -- from furniture to picture frames. This gallery examines the American Aesthetic movement -- the leading cultural phenomenon of the opulent age -- through a range of objects produced in the 1870s and 1880s for the elite consumer. Rooted in the English philosophies of John Ruskin and William Morris -- particularly the notion that a "beautiful" environment promoted moral and social reform -- Aestheticism played a role in liberating American art and design through its emphasis on international influences. These decades also witnessed a new generation of artists seeking to transcend issues of nationality in both training and subject matter. With reduced travel restrictions and improved modes of transportation, students flocked to the academies and private studies of Munich, Paris, London and Rome. The education they received in Europe's art capitals redirected many toward cosmopolitan styles and themes, while others applied their newly learned techniques to American subjects. A number even established permanent residency and professional reputations abroad. This gallery also explores the rich cross-fertilization that developed at the era's world's fairs and major annual exhibitions.
99. VMFAU2_130209_620.JPG: Cecilia Beaux Alexander Harrison, 1888
100. VMFAU2_130209_631.JPG: John Singer Sargent Mrs. Albert Vickers (Edith Foster Vickers), 1884
101. VMFAU2_130209_639.JPG: Augustus Saint-Gaudens Diana of the Tower, modeled 1892, cast 1899
102. VMFAU2_130209_650.JPG: James McNeill Whistler Sotto Portico-San Giacomo, 1879-80
103. VMFAU2_130209_676.JPG: The Worsham-Rockefeller Bedroom: The Worsham-Rockefeller bedroom was originally located in a mid-1860s Italianate brownstone at 4 West Fifty-fourth Street in New York City. The mansion was purchased in 1877 by Richmond native Arabella Worsham who shortly thereafter commissioned a major New York architect and decorating firm to expand the structure and remodel the interiors. Included in that commission, this bedroom is a consummate example of the Anglo-American Aesthetic movement, expressing what one contemporary reviewer described as an effort to "persuade people to ... pursue the paths of true art and taste in furnishing their house." Arabella Worsham occupied the mansion for only a few years. In 1884, she married Collis P. Huntington and sold the house to John D. Rockefeller Sr. Following Rockefeller's death in 1937, three rooms were removed from the house prior to its demolition. The Rockefeller family gave this bedroom and a dressing room to the Museum of the City of New York and a smoking room to the Brooklyn Museum. In 2008, the Virginia Museum of Fine Arts received the Worsham-Rockefeller Bedroom as a generous gift from the Museum of the City of New York. The acquisition brings added dimension to VMFA's collection not only as the museum's first historical interior but as evidence of the socioeconomic transformations of the post-Civil War period.
104. VMFAU2_130209_688.JPG: American Art -- Modern Era: At the turn of the 20th century, American artists and designers sought new ways to capture the changing world around them. As immigration swelled, some tenaciously emphasized an Anglo-American identify to urge social and moral refinement; others celebrated the nation as a land of diverse cultural contrasts, rooted in cities as well as in the romanticized West. All -- modernists and antimodernists alike -- were shaped by the country's increasingly urban and industrial character. Through impressionist, realist, and more avant-garde approaches -- examples of which are on view in this gallery -- artists explored what it meant to be "modern" in a new century. An innovative vocabulary that emphasized form, color, and geometric composition, influenced by European styles, captivated many. The dynamism of urban culture as well as the quieter symbolism of nature and handicraft also informed different modes of production and decoration. In its broadest terms, modernism -- more a cultural attitude than a coherent movement -- defined an impulse to reconcile the present and remake the future for positive, even utopian, ends.
105. VMFAU2_130209_695.JPG: Bessie Potter-Vonnoh Mother and Child, 1902
106. VMFAUS_130922_010.JPG: They replaced this sign since I complained about an error on it. James Earle Fraser American, 1876-1953 Theodore Roosevelt, 1920 Born in Minnesota and raised in South Dakota, Fraser is best known for the monuments to Native Americans. He began his artistic career, however, producing architectural sculptures for Chicago's 1893 World Columbian Exposition, soon after which he sought academic training in France. While there he became an assistant to Augustus Saint-Gaudens, the leading American sculptor working in Paris at the time. This image of Theodore Roosevelt, paired with one of his well-known sayings, strongly evokes Saint-Gaudens's celebrated approach to bas-relief portraiture. Fraser likely met America's twenty-sixth president through his teacher, who was then designing the famed twenty-dollar "double eagle" gold coin, issued in 1907. Six years later, Fraser himself developed a reputation as a numismatist, producing the so-called Indian head, or buffalo, nickel.
107. VMFAUS_130922_015.JPG: Anna Hyatt Huntington Fawns Playing, modeled 1934, cast 1936
108. VMFAUS_130922_026.JPG: Marsden Hartley Franconia Notch, 1930
109. VMFAUS_130922_035.JPG: Ben Shahn Africa, 1956
110. VMFAUS_130922_061.JPG: Paul Arlt War's End, 1946
111. VMFAUS_130922_069.JPG: Edward Hopper House at Dusk, 1935
112. VMFAUS_130922_084.JPG: Andrew Wyeth The Country, 1965
113. VMFAUS_130922_090.JPG: Beauford Delaney Greene Street, 1946
114. VMFAUS_130922_099.JPG: Philip Evergood Street Corner, 1936
115. VMFAUS_130922_106.JPG: Charles Sheeler Steel-Croton, 1953
116. VMFAUS_130922_113.JPG: Beauford Delaney Marian Anderson, 1965
117. VMFAUS_130922_121.JPG: American Art -- Mid-Twentieth Century: The devastating stock market crash of 1929 ushered in a wave of socioeconomic crises that dramatically shaped American culture. Overwhelmed by poverty and unemployment, American artists turned inward, committing themselves to creating a home-grown "art for the people." Many adopted a realist style and treated regional subjects as a means of exploring the importance of "place." Others continued to favor an international language of abstraction to express modern truths and utopian visions. Founded in 1936 in the depths of the Great Depression, the state-owned Virginia Museum of Fine Arts enthusiastically embraced the nationalist call for a vital cultural scene. Many of the objects on view in this gallery, purchased directly from the museum's biennial exhibitions of contemporary American painting (called "the South's most heralded competition"), offer glimpses of institutional taste. In the post-World War II era, the two constants of figuration and realism continued to shape American production and reception. Nevertheless controversial exhibitions and purchased marked VMFA's increasing alignment with progressive national forces that favored nonrepresentational imagery. By the late 1950s, abstraction -- in its myriad variations -- was widely heralded at home and abroad as a dynamic "American" art.
118. VMFAUS_130922_125.JPG: Robert Gwathmey Family Portrait, 1944
119. VMFAUS_130922_131.JPG: Charles Sprague Pearce Peines de Coeur (Heartbreak), ca 1884
120. VMFAUS_130922_140.JPG: Frederick Macmonnies Young Chevalier, ca 1898
121. VMFAUS_130922_158.JPG: Winslow Homer Girl Seated in a Garden, ca 1878
122. VMFAUS_130922_173.JPG: Edward L. Henry The Meeting of General Washington and Rochambeau, 1873
123. VMFAUS_130922_186.JPG: William Merrit Chase The Wounded Poacher (The Veteran), 1878
124. VMFAUS_130922_203.JPG: William D. Washington Lady Clara de Clare, ca 1869
125. VMFAUS_130922_228.JPG: George Henry Durrie Winter in the Country: A Cold Morning, 1861
126. VMFAUS_130922_244.JPG: Jervis McEntee Natural Bridge, 1877
127. VMFAUS_130922_251.JPG: Walter Launt Palmer Landscape, 1875
128. VMFAUS_130922_259.JPG: J. Foxcroft Cole French Farm Scene, 1861
129. VMFAUS_130922_267.JPG: Chauncey B. Ives Egeria, 1876
130. VMFAUS_130922_287.JPG: Edward V. Valentine Study for Recumbent Lee, 1872
131. VMFAUS_130922_299.JPG: John A. Elder The Scout's Return, ca 1870-90
132. VMFAUS_130922_306.JPG: John Rogers Taking the Oath and Drawing Rations, designed 1866
133. VMFAUS_130922_316.JPG: William MacLeod Antietam Bridge, 1864
134. VMFAUS_130922_324.JPG: George N. Barnard City of Atlanta, Georgia, No. 2, 1866
135. VMFAUS_130922_342.JPG: Antebellum Era The 1828 presidential election of Tennessee frontiersman Andrew Jackson ushered in what is known as the Age of the Common Man. During this era of increasing democracy, westward expansion, and rapid industrialization, artists painted the contemporary scene in an attempt to reach a wider audience. A taste for regional landscape painting seized the American public after 1830, giving rise to the first national art movement, later known as the Hudson River school. At the same time, depictions of ordinary people engaged in daily activities (genre scenes), as well as imaginative portrayals of America's founding fathers, helped the diverse population picture itself as a unified nation -- this despite simmering tensions between pro- and antislavery forces. Grounded in ideas of nature and property, self-reliance and progress, American identity also continued to maintain ongoing dialogues with Europe in the form of revivalist styles and Old World subjects.
136. VMFAUS_130922_347.JPG: Early Republic Era Following its War of Independence (1775-83), the newly formed United States looked to the ancient civilizations of Greece and Rome in its transformation from diverse colonies and territories to a cohesive nation. Viewing themselves as heirs to antiquity's democratic tenets and traditions, American embraced neoclassical themes on a variety of levels -- from a republican structure of government to classical conventions in architecture and the arts. The nation's founding principles of freedom and equality took root despite the fact that they were not extended to the entire population -- particularly Native Americans, African Americans, and women. As a legitimizing federal (or "high") style of national identity emerged, regional (or "vernacular") tendencies continued to assert themselves, especially in decorative art and so-called folk art.
137. VMFAUS_130922_355.JPG: John Trumbull Portrait of Captain Samuel Blodget in Rifle Dress, ca 1786
138. VMFAUS_130922_365.JPG: John Trumbull Priam Returning to His Family with the Dead Body of Hector, 1785
139. VMFAUS_130922_375.JPG: John Singleton Copley Mrs. Isaac Royall (Elizabeth Mackintosh), ca 1767-69
140. VMFAUS_130922_394.JPG: Gilbert Stuart Reverend William Preston, ca 1788
141. VMFAUS_130922_400.JPG: Colonial & Revolutionary Eras Situated in one of the nation's original thirteen colonies, VMFA's American art collection traces more than three hundred years of cultural exchange and development. From the time of North America's first permanent English colony -- in Jamestown, Virginia -- enterprising portrait painters, artisans, and consumers participated in a dynamic material culture that played a significant role in shaping family and social life. Closely following fashions in Europe (particularly England, France, Germany, and Holland), talented craftsmen from South, Mid-Atlantic, and New England applied established techniques and styles to native materials, merging tradition and invention. Portraiture, a genre informed by patterns of population growth and widespread assumptions about class and gender, flourished alongside individual prosperity. By having their likenesses captured in oil, wealthy residents of Charleston, Williamsburg, Philadelphia, New York, and Boston -- British America's leading cultural centers -- affirmed their social status in the emerging nation. Emulating European aristocracy, colonial patrons also encouraged painters to explore so-called Grand Manner themes of heroism and nobility in an emerging neoclassical style inspired by Greco-Roman art.
142. VMFAUS_130922_405.JPG: Louise Cochrane Reflections, 1994
143. VMFAUS_130922_412.JPG: Frederic Edwin Church In the Tropics, 1856
144. VMFAUS_130922_424.JPG: Ernest Lawson Cape Ann, ca 1915
145. VMFAUS_130922_433.JPG: Daniel Putnam Brinley The Peony Garden, ca 1912
146. VMFAUS_130922_441.JPG: Daniel Garber Old Church, Carversville, 1916
147. VMFAUS_130922_451.JPG: George Bellows Shipyard Society, 1916
148. VMFAUS_130922_456.JPG: Maxfield Parrish Little Sugar River at Noon, ca 1922-24
149. VMFAUS_130922_465.JPG: William Wallace Denslow The Home Magazine, 1898
150. VMFAUS_130922_476.JPG: Thomas Moran Bridaveil Fall, Yosemite Valley, 1904
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2013 photos: Trips this year: three Civil War Trust conferences (Memphis, TN, Jackson, MS [to which I added a week to to visit sites in Mississippi, Louisiana, and Tennessee], and Richmond, VA), and my 8th consecutive San Diego Comic-Con trip (including sites in Nevada and California). Ego Strokes: Aviva Kempner used my photo of her as her author photo in Larry Ruttman's "American Jews & America's Game: Voices of a Growing Legacy in Baseball" book. Equipment this year: I mostly used my Fuji XS-1 camera but, depending on the event, I also used a Nikon D7000 and Nikon D600. Number of photos taken this year: just over 570,000.
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