DC -- Dupont Circle -- Society of the Cincinnati (Anderson House) -- Exhibit: Faces of Revolution:
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Description of Pictures: Faces of Revolution: Portraits from the War for Independence
September 17, 2015 — March 13, 2016
For many of the men who fought for American independence, the Revolutionary War was the defining experience of their lives. They paid artists to paint their portraits, identifying themselves for posterity as participants in the cause that established their nation. Officers chose to be depicted in military uniform, forever associating themselves with George Washington's army and the fight for independence. They also presented portraits to family members and friends, intending that others remember their roles—however small—in securing American independence. These portraits were painted during the war and in the decades that followed, as aging veterans recalled the importance of their service.
Portraits played vital roles in American culture in the late eighteenth century. Full-size oil portraits—whether formal canvases or works of folk art—conveyed the sitters' standing in their communities and attempted to reveal their ideals and character. These works often marked important milestones, including an officer's military service or promotion. More intimate portrait miniatures were a staple of romantic and familial relationships, communicating the affection between husbands and wives and parents and children. During the Revolution, women proudly wore miniature likenesses of men in uniform, proud of their association with the American cause. When families lost loved ones, posthumous portraits and mourning scenes provided tangible reminders of and memorials to the deceased. These mementoes sought to preserve the memory of the men who died fighting for American independence and to commemorate their sacrifices for their country.
This exhibition features more than thirty works of art from the Society's collections and several private lenders—some of which have never before been displayed publicly. It explores why these portraits were painted, the significance they had fo ...More...
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CINCIF_160102_010.JPG: The Robert Charles Lawrence Fergusson Collection
The Robert Charles Lawrence Fergusson Collection honors the memory of a member of the Society of the Cincinnati in the State of Virginia who died of wounds sustained in combat in Vietnam. Lieutenant Fergusson was awarded the Distinguished Service Cross, the Bronze Star Medal with Oak Leaf Cluster, and the Purple Heart. The growing collection that bears his name -- and from which numerous items in this exhibition are drawn -- includes rare books, broadsides, manuscripts, maps, works of art, and artifacts pertaining to the military history of the American Revolution and the art of war in the eighteenth century.
CINCIF_160102_015.JPG: Jacob Shubrick (1757-1778)
This full-length oil portrait of Shubrick depicts him in the uniform of a captain in the Second South Carolina Regiment. Shubrick fought in the Battle of Sullivan's Island in Charleston Harbor, the Bunker Hill of the South.
By Henry Benbridge, ca. 1777
CINCIF_160102_037.JPG: Faces of Revolution: Portraits from the War for Independence:
For many of the men who fought for American independence, the Revolutionary War was the defining experience of their lives. They paid artists to paint their portraits, identifying themselves for posterity as participants in the cause that established their nation. Officers chose to be depicted in military uniform, forever associating themselves with George Washington's army and the fight for independence. They also presented portraits to family members and friends, intending that others remember their roles -- however small -- in securing American independence. These portraits were painted during the war and in the decades that followed, as aging veterans recalled the importance of their service.
Portraits played vital roles in American culture in the late eighteenth century. Full-size oil portraits -- whether formal canvases or works of folk art -- conveyed the sitters' standing in their communities and attempted to reveal their ideals and character. These works often marked important milestones, including an officer's military service or promotion. More intimate portrait miniatures were a staple of romantic and familial relationships, communicating the affection between husbands and wives and parents and children. During the Revolution, women proudly wore miniature likenesses of men in uniform, proud of their association with the American cause. When families lost loved ones, posthumous portraits and mourning scenes provided tangible reminders of and memorials to the deceased. These mementoes sought to preserve the memory of the men who died fighting for American independence and to commemorate their sacrifices for the new nation.
CINCIF_160102_041.JPG: The Commander in Chief
The appointment of George Washington as commander in chief of the Continental Army by Congress in June 1775 thrust the Virginian into international prominence. It also created a growing demand on both sides of the Atlantic for likenesses of the American leader. Civic institutions, universities, and wealthy individuals commissioned oil portraits of Washington, but most Americans -- as well as Europeans abroad -- did not have access to these works of art. Printed portraits became the primary way that most of Washington's countrymen and admirers discovered what he looked like.
During the early years of the war, when there were very few accurate portraits of Washington to copy, engravers met the demand for likenesses of the commander in chief by inventing fictitious images. Later, authentic likenesses painted by Charles Willson Peale, John Trumbull, and Pierre Du Simitiere became the standard sources for printed portraits of Washington. Printed images of Washington appeared in yearly almanacs, monthly magazines, histories of the war, music sheets, and children's primers. By the end of the Revolution, these portraits helped to establish the iconography of Washington as the military leader and father of his country.
CINCIF_160102_044.JPG: George Washington, Esqr.; General and Commander in Chief of the Continental Army in America
Published by C. Shepherd, 1775
This popular English mezzotint portrait of Washington was published on September 9, 1775. The likeness was entirely fictitious, yet the publisher asserted it had been "done from an Original Drawn from Life by Alexr. Campbell of Williamsburgh in Virginia." When Washington first saw a copy of the print in January 1776, he quipped, "Mr. Campbell, whom I never saw (to my knowledge) has made a very formidable figure of the Commander-in-Chief, giving him a sufficient portion of Terror in his Countenance." No artist named Alexander Campbell is known to have existed.
CINCIF_160102_051.JPG: Bickerstaff's Boston Almanack, For the Year of our Redemption, 1778
CINCIF_160102_057.JPG: His Excy. George Washington Esqr.: Captain General of all the American forces
Engraved by John Norman, 1781
CINCIF_160102_062.JPG: His Excellency Gen Washington
Engraved by Charles Willson Peale, 1778
CINCIF_160102_068.JPG: His Excellency Gen Washington
Printed portraits celebrated the American military leaders of the Revolution as heroic figures. The first authentic printed likeness of George Washington was published in the fall of 1778 by Charles Willson Peale, who based the image on his oil portrait painted from life in 1776.
Engraved by Charles Willson Peale
Philadelphia, 1778
The Robert Charles Lawrence Fergusson Collection
CINCIF_160102_071.JPG: Printed Portraits of American Heroes
Printed portraits celebrated the American military leaders of the Revolution as historic figures worthy of attention on both sides of the Atlantic. They pictured not just George Washington, but John Paul Jones, Israel Putnam, Nathanael Greene, and even Benedict Arnold. The nation's new heroes became international figures as their likenesses circulated through the United States and Europe. Patriotic symbols -- flags, mottos, uniforms, and battle scenes -- were incorporated into the images, enhancing the prints' meaning for American consumers. By purchasing or using these printed portraits, Americans declared their support for the Revolution and their admiration for its leaders. The wide variety in format and cost of the prints -- they were issued as single sheets for display, published in histories of the war and popular broadsides, and reproduced on household goods -- allowed wealthy and ordinary citizens alike to own portraits of the new nation's heroes.
Most of these printed portraits were created in England and Continental Europe, whose interest in the American war drove an intense demand for likenesses of the Revolution's leaders. European engravers and publishers had the skills and resources to produce and sell a wide range of printed portraits, while very few engravers worked in America during the war years. With little access to authentic portraits painted from life, engravers copied other printed likenesses or invented entirely fictitious images of their subjects -- approaches that both generated commercial success.
CINCIF_160102_075.JPG: Hopkins Commandant en Chief la Flotte Americaine
Engraved by Jean Victor Dupin, ca 1780
CINCIF_160102_080.JPG: Copper plate
CINCIF_160102_093.JPG: American Miniature Painters
The tradition of portrait painting in America was adapted primarily from English models. The earliest known American miniatures were painted in the 1750s. The colonies' most talented painters -- including John Singleton Copley, Charles Willson Peale, and Henry Benbridge -- began offering miniatures as reduced versions of their larger oil portraits. By the Revolution, artists like James Peale, John Ramage, and Joseph Dunkerley specialized in miniatures.
Charles Willson Peale, a native of Maryland, was the most important American artist during the Revolutionary War. While he is best remembered for his larger oil portraits, he painted more than 130 miniatures during the Revolution, including likenesses of George Washington, Henry Knox, and Nathanael Greene. To execute the miniatures away from his studio, Peale traveled with his "Miniature apparatus," including a supply of ivories, convex glass pieces, and metal cases -- all usually imported from England. A hallmark of his miniatures is a bluish tone in the faces of other light-colored areas, the result of the loss of a fugitive pigment. Five of Peale's miniatures are on display in this case.
CINCIF_160102_097.JPG: James Hamilton (1750-1833)
Portrait miniatures, keepsakes given by officers to close family members, symbolized their affection and recorded their war service. James Hamilton was painted wearing the Pennsylvania Continental Line uniform with a green sash indicating his role as aide-de-camp to General Arthur St. Clair.
By Charles Willson Peale, ca. 1778-1779
Gift of the Society of the Cincinnati of the State of South Carolina
CINCIF_160102_104.JPG: Jacob Reed, Jr. (1755-1838)
Attributed to John Ramage, ca 1780-1790
CINCIF_160102_109.JPG: William Henry Bruce (1752-1825)
by Charles Willson Peale, ca 1777-1780
CINCIF_160102_114.JPG: William Palfrey (1741-ca. 1780)
After serving as an aide-de-camp to Generals Charles Lee and George Washington early in the Revolution, William Palfrey was appointed paymaster general of the Continental Army in 1776. This watercolor portrait miniature depicts him in the buff-and-blue uniform of the army's general officers and staff.
By an unidentified artist, ca. 1776-1780
Purchased with a gift from a private foundation
CINCIF_160102_119.JPG: Nathan Dorsey (1754-1806)
by Charles Willson Peale, ca 1775
CINCIF_160102_124.JPG: Portrait Miniatures
In eighteenth-century America, portrait miniatures were intimate keepsakes given by the sitter to a loved one to convey their affection and to represent their bond. Miniatures were often commissioned to mark important milestones in life, including marriage, long absences, and death. During the Revolution, officers sat for these small portraits before leaving home or while serving in the military. They typically presented the miniature to their wife, mother, or other close female relative, who cherished the portrait as a reminder of their loved one in an uncertain time. These women wore miniatures as a pendant of bracelet, declaring their pride in their relative's participation in the American cause.
Revolutionary War miniatures have an extraordinary life-like quality. Artists painted them in the field, in a short amount of time, with fine detail and a muted color palette that created a sense of realism and immediacy. Most of these portrait miniatures depict officers in their military uniform, providing highly accurate records of the appearance of George Washington's army. Painted in watercolor on a thin, oval piece of ivory, miniatures were enclosed behind glass in a metal locket-style case. The back of the case often revealed woven hair or initials of the sitter, or of both sitter and the recipient -- further enhancing the miniature's intimacy.
CINCIF_160102_126.JPG: Frederick Weissenfels (1728-1806)
This portrait miniature was painted for Frederick Weissenfels' first wife, Mary, before he left home for the Revolutionary War. A native of West Prussia and veteran of the Seven Years' War, Weissenfels rose through the ranks of the New York Continental Line to the rank of lieutenant colonel.
By an unidentified artist, ca. 1770-1775
Gift of David Charles Becker
CINCIF_160102_131.JPG: Barnabas Binney (1751-1787)
by an unidentified artist, ca 1779-1783
CINCIF_160102_135.JPG: William Truman Stoddert (1759-1793)
by Charles Willson Peale, ca 1778
CINCIF_160102_139.JPG: George Baylor (1752-1784)
by Charles Willson Peale, 1778
CINCIF_160102_144.JPG: Benjamin Flower (1748-1781)
by an unidentified artist, ca 1778-1780
CINCIF_160102_153.JPG: Thomas Shubrick (1755-1810)
John Trumbull painted this small oil portrait as a study for Thomas Shubrick's figure in a painting of the Battle of Eutaw Springs, which the artist never executed. Shubrick had distinguished himself in the battle in the South Carolina backcountry ten years earlier.
By John Trumbull, 1791
Gift of W. B. Shubrick Clymer
CINCIF_160102_171.JPG: Major General John Sullivan, A distinguish'd Officer in the Continental Army
Published by Thomas Hart, 1776
CINCIF_160102_175.JPG: David Wooster, Esqr.: Commander in Chief of the Provincial Army against Quebec
Published by Thomas Hart, 1776
CINCIF_160102_181.JPG: Portraits des Generaux, Ministres et Magistats Qui se sont rendu celebres dans la Revolution des Treize Etats-Unis de l'Amerique Septentrionale
CINCIF_160102_191.JPG: Battersea box cover
late 18th century
CINCIF_160102_195.JPG: His Excy. Nathaniel Green Esq., Major General of the American Army
engraved by John Norman, Boston, 1781
CINCIF_160102_202.JPG: ohn Johnston (1753-1818)
Captain-lieutenant John Johnston served under Henry Knox in the Continental Artillery during the war. After being wounded and taken prisoner in the Battle of Brooklyn, Johnston retired from the army in October 1777. He painted this self-portrait the year the war ended.
Self-portrait, 1783
Bequest of Parker Soren, Esq.
CINCIF_160102_218.JPG: Bryan Rossiter (1760-1835)
Bryan Rossiter served as an enlisted man in the Connecticut Continental Line for seven years during the Revolution. In this portrait, the artist commemorated Rossiter's service while depicting him wearing a later uniform -- that of the sergeant at arms of the New York State Society of the Cincinnati, a position Rossiter held from 1801 to 1828.
By John Trumbull, 1806
Collection of the New York State Society of the Cincinnati
CINCIF_160102_229.JPG: In eighteenth-century America, portrait miniatures of soldiers and other men were painted as gifts for the sitter's female relatives, usually a wife or daughter. Women commonly wore miniatures as pendants on a ribbon, strand of pearls, or gold chain, as the artist's wife does in this family portrait.
CINCIF_160102_236.JPG: Allegorical portrait of Thomas Francois Lenormand de Victot (1742-1782)
by Nicolas Rene Jollian, 1783
CINCIF_160102_273.JPG: Posthumous Portraits and Mourning Scenes
As many as seventy thousand Americans were killed or wounded or died of disease as a direct result of the Revolutionary War. For the families of men who paid the ultimate sacrifice for their country, posthumous portraits and mourning scenes provided tangible reminders of and memorials to their lost loved ones. Posthumous portraits, ranging from straightforward bust-length views to detailed narrative scenes, often depicted the fallen officer in uniform, emphasizing his service in the American cause. Mourning scenes, most often worn as jewelry, used symbols rather than a portrait to represent the deceased. These mementoes gave grieving families an embodiment of their loved one to hold close as the years passed.
To create a likeness of a deceased officer, artists copied an existing portrait or, if no image of the man existed, painted the face of a close family member or used a general figure to stand in for the deceased. Mourning rings and pendants were adorned with their loved one's name, date of death, and age at their passing. They could also be embellished with painted scenes, which employed an iconography of obelisks and other funerary monuments, weeping female figures, willow trees, and angels -- symbols that were familiar to eighteenth-century Americans. The deceased's hair was often incorporated into mourning jewelry, either in decorative patterns or ground into the paint, to preserve a piece of them in the object.
CINCIF_160102_285.JPG: Mourning ring for Nathaniel Heard
CINCIF_160102_290.JPG: Mourning scene
For the families of men who paid the ultimate sacrifice for their country, mourning scenes provided tangible reminders of and memorials to their lost loved ones. This watercolor-on-ivory scene memorializes George Augustine Washington, a dragoon officer, and his father-in-law Burwell Bassett, a Virginia politican.
American, 1793
Gift of Burwell Bassett Smith
CINCIF_160102_299.JPG: "Hamilton's Tomb"
Mourning scenes used symbols rather than a portrait to represent the deceased. The iconography of mourning was familiar to eighteenth-century Americans, including schoolgirls like Catharine Tuttle, who worked this silk mourning embroidery honoring Alexander Hamilton. Hamilton had been one of George Washington's most important aides during the Revolution.
By Catharine Tuttle Young, 1811
The Robert Charles Lawrence Fergusson Collection
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2016 photos: Equipment this year: I continued to use my Fuji XS-1 cameras but, depending on the event, I also used a Nikon D7000.
Seven relatively short trips this year:
two Civil War Trust conference (Gettysburg, PA and West Point, NY, with a side-trip to New York City),
my 11th consecutive San Diego Comic-Con trip (including sites in Utah, Nevada, and California),
a quick trip to Michigan for Uncle Wayne's funeral,
two additional trips to New York City, and
a Civil Rights site trip to Alabama during the November elections. Being in places where people died to preserve the rights of minority voters made the Trumputin election even more depressing.
Number of photos taken this year: just over 610,000.
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