BGuthrie Photos: NY -- NYC -- Metropolitan Museum of Art -- American Wing

NY -- NYC -- Metropolitan Museum of Art -- American Wing:

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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. METAA1_160915_003.JPG: Colonial Portraiture, 1730-76 By the beginning of the eighteenth century, portraiture was firmly established in colonial American cities as an art form embodying the ideals and tastes of a wealthy society. This gallery includes examples by the Scottish emigre John Smibert -- who arrived in Rhode Island in 1729, with considerable skills and academic training, then settled in Boston -- as well as by America's first eminent native-born painter, John Singleton Copley, who created opulent images that captured his sitters' hopes and values on the eve of the American Revolution. (More portraits by Copley are on view in adjacent gallery 748). The approaching war deprived many native-born artists of the opportunity to receive formal training in European artistic traditions. Still, the most ambitious followed Benjamin West to London, where his studio became the leading school for aspiring American painters.
2. METAA1_160915_006.JPG: Joseph Badger James Badger, 1760
3. METAA1_160915_010.JPG: John Wollaston William Axtell, ca 1749-52
4. METAA1_160915_014.JPG: John Mare Jeremiah Platt, 1767
5. METAA1_160915_018.JPG: Joseph Blackburn Mrs. Samuel Cutts, ca 1762-63
6. METAA1_160915_022.JPG: Joseph Blackburn Samuel Cutts, ca 1764-1765
7. METAA1_160915_027.JPG: Matthew Pratt The American School, 1765
8. METAA1_160915_035.JPG: John Singleton Copley Joseph Sherburne, ca 1767-70
9. METAA1_160915_039.JPG: John Singleton Copley Mrs. Jerathmael Bowers, ca 1763
10. METAA1_160915_045.JPG: Robert Feke Tench Francis, 1746
11. METAA1_160915_050.JPG: John Smibert Francis Krinley, 1729
12. METAA1_160915_054.JPG: John Smibert Mrs. Francis Brinley and His Son Franics, 1729
13. METAA1_160915_058.JPG: Attributed to Pieter Vanderlyn Young Lady with a Rose, 1732
14. METAA1_160915_062.JPG: Prince Demah Barnes William Duguid, 1773
15. METAA1_160915_070.JPG: John Singleton Copley Before leaving his native Boston for England in 1774, John Singleton Copley (1738-1815) had become the leading portraitist of the colonial era. Throughout New England and New York, he depicted contemporary merchant princes, political leaders, clergymen, and their wives and children. Taking his cues from John Smibert and Joseph Blackburn, whom he quickly surpassed in skill and ingenuity, Copley studied mezzotints after contemporary British canvases the better to serve his discriminating Anglophile clients -- American noblewomen of intelligence and high character and men who appreciated his gift for conveying aristocratic elegance and gentility. His career was a triumph, and he later established a highly successful practice as a portraitist and history painted in London.
16. METAA1_160915_073.JPG: John Singleton Copley Daniel Crommelin Verplanck, 1771
17. METAA1_160915_076.JPG: William Rush Eagle, 1809-11
18. METAA1_160915_079.JPG: John Singleton Copley Mrs. Sylvanus Bourne, 1766
19. METAA1_160915_086.JPG: John Singleton Copley Richard Dana, c 1770
20. METAA1_160915_093.JPG: John Singleton Copley Mrs. John Winthrop, 1773
21. METAA1_160915_096.JPG: Ralph Earl Marinus Willett, c 1791
22. METAA1_160915_101.JPG: C. Liger Smallsword and sheath, 1785-86
23. METAA1_160915_106.JPG: Gilbert Stuart Captain John Gell, 1785
24. METAA1_160915_110.JPG: Gilbert Stuart Matthew Clarkson, c 1794
25. METAA1_160915_114.JPG: Era of the Revolution, 1776-1800 American colonists had a fierce sense of their privileges as English subjects, and, over time, they developed a distinctly American understanding of their rights and liberties and were willing to fight for them. The paintings in this gallery express the pride of a young nation born of revolution and celebrate its heroes and hard-fought battles. Following their study abroad, the American painters Charles Willson Peale, John Trumbull, and Gilbert Stuart returned to the United States, where they made life portraits of George Washington to exalt him in his roles as war hero and chief executive of the United States. His image, reproduced frequently in paintings, sculpture, and other media, symbolized by the legitimacy of the newly independent nation and embodied the ideals of honesty, virtue, and patriotism. Working in London, Benjamin West -- the first American-born artist to gain international prominence -- advanced the genre of history painting by depicting contemporary events.
26. METAA1_160915_116.JPG: Benjamin West Moses Shown the Promised Lane, 1801
27. METAA1_160915_120.JPG: Samuel Jennings Study for "Liberty Displaying the Arts and Sciences, or the Genius of America Encouraging the Emancipation of the Blacks", c 1791-92
28. METAA1_160915_133.JPG: John Trumbull Thomas Jefferson, 1788
29. METAA1_160915_137.JPG: John Trumbull Thomas Mifflin, c 1790
30. METAA1_160915_142.JPG: John Trumbull The Sortie Made by the Garrison of Gibraltar, 1789
31. METAA1_160915_158.JPG: After John Singleton Copley Watson and the Shark, c 1778
32. METAA1_160915_162.JPG: Gilbert Stuart Horatio Gates, c 1793-94
33. METAA1_160915_170.JPG: Mather Brown General George Eliott, 1790
34. METAA1_160915_178.JPG: Giuseppe Ceracchi George Washington, 1794-95
35. METAA1_160915_181.JPG: Charles Willson Peale George Washington, c 1779-81
36. METAA1_160915_186.JPG: Gilbert Stuart George Washington, begun 1795
37. METAA1_160915_190.JPG: Faces of the Young Republic, 1789-1800 The struggle for independence had isolated the colonies artistically as well as economically, but the years following the cessation of hostilities with Britain were ones of steady growth and, beginning in 1785, saw the return from London of the country's most talented artists. Gilbert Stuart rose to prominence as America's leading urban portraitist, while Ralph Earl offered his considerable talents to the country's emerging rural middle class. The proud new citizens of the United States had much to celebrate in their domestic, commercial, and professional lives in the post-Revolutionary period, and many commissioned portraits that reflected their patriotism as well as their social status.
38. METAA1_160915_193.JPG: Charles Willson Peale Samuel Mifflin, 1777-80
39. METAA1_160915_201.JPG: Charles Willson Peale Mrs. Samuel Mifflin and Her Granddaughter Rebecca Mifflin Francis, 1777-80
40. METAA1_160915_205.JPG: Ralph Earl Mrs. Noah Smith and Her Children, 1798
41. METAA1_160915_209.JPG: Ralph Earl Esther Boardman, 1789
42. METAA1_160915_214.JPG: Joshua Johnson Emma Van Name, c 1805
43. METAA1_160915_220.JPG: Gilbert Stuart Josef de Jaudenese y Nebot, 1794
44. METAA1_160915_231.JPG: Gilbert Stuart Matilda Stoughton de Jaudenes, 1794
45. METAA1_160915_243.JPG: Gilbert Stuart George Washington, c 1800
46. METAA1_160915_249.JPG: Thomas Crawford Genius of Mirth, 1842, this carving, 1843
47. METAA1_160915_253.JPG: Life in America, 1830-60 During the decades leading up to the Civil War, American artists adopted new modes of pictorial storytelling, primarily in the form of genre paintings featuring narratives that the growing audience for art could easily understand. The paintings on view in this gallery are characterized by clearly delineated forms and compositions are often humorous, didactic, or moralizing. Domestic scenes of lower- and middle-class characters were often inspired by Dutch old masters or more recent French and British popular prints. Universal themes such as childhood, marriage, family, and community persisted in paintings by Francis William Edmonds and Lilly Martin Spencer, while the everyday functioning of our democracy -- political elections, attitudes toward race and immigration, the frontier as reality and myth -- was explored and depicted in works by William Sidney Mount and George Caleb Bingham.
48. METAA1_160915_258.JPG: Unidentified artist The Five Points, ca 1827
49. METAA1_160915_263.JPG: Unidentified artist Moving Day (In Little Old New York), c 1827
50. METAA1_160915_270.JPG: Albertis del Orient Browere Rip Van Winkle, 1833
51. METAA1_160915_281.JPG: John Quidor Leatherstocking's Rescue, 1832
52. METAA1_160915_295.JPG: Harriet Goodhue Hosmer Daphne, 1853, this carving 1854
53. METAA1_160915_301.JPG: George Henry Durrie Red Schoolhouse (Country Scene), 1850-60
54. METAA1_160915_309.JPG: William Sidney Mount Long Island Farmhouses, 1862-63
55. METAA1_160915_317.JPG: William Sidney Mount The Raffle (Raffling for the Goose), 1837
56. METAA1_160915_322.JPG: William Sidney Mount Cider Making, 1840-41
57. METAA1_160915_328.JPG: Lilly Martin Spencer Young Husband: First Marketing, 1854
58. METAA1_160915_335.JPG: Francis William Edmonds The New Bonnet, 1858
59. METAA1_160915_339.JPG: Lilly Martin Spencer Conversation Piece, ca 1851-52
60. METAA1_160915_345.JPG: Francis William Edmonds Taking the Census, 1854
61. METAA1_160915_351.JPG: Francis William Edmonds Preparing for Christmas, ca 1851
62. METAA1_160915_356.JPG: Jonathan K. Trego and J.L. Williams Trappers, ca 1855
63. METAA1_160915_361.JPG: Alfred Jacob Miller Snake River Indians, ca 1845-55
64. METAA1_160915_370.JPG: George Caleb Bingham Fur Traders Descending the Missouri, 1845
65. METAA1_160915_382.JPG: Emanuel Leutze Washington Crossing the Delaware, 1851
66. METAA1_160915_412.JPG: Emanuel Leutze Washington Crossing the Delaware, 1851 This depiction of George Washington (1732-1799) and his men crossing the Delaware River from Pennsylvania to New Jersey to launch an attack on the Hessians (German soldiers hired by Great Britain) on December 25, 1776 -- a turning point in the Revolutionary War -- was a great success both in Germany, where Leutze painted it, and in the United States. Its popularity lay chiefly in the choice of subject, appealing as it did to flourishing nationalism at midcentury not only in those two countries but around the world. The work's monumental scale added to its effectiveness. Despite some historical inaccuracies, the painting remains an object of veneration and is one of the best-known and most extensively published images in American art. It is exhibited here in a reproduction of its original frame, based on a photograph by Mathew B. Brady.
67. METAA1_160915_415.JPG: Mathew Brady, North Wall of the Art Gallery, Metropolitan Sanitary Fair, 1864, 1864.
68. METAA1_160915_418.JPG: Hiram Powers Andrew Jackson, 1834-35, this carving 1839
69. METAA1_160915_423.JPG: History, Landscape, and National Identity, 1850-75 After 1850, artists of the Hudson River School looked for inspiration farther from home, seeking to measure their own regional and national landscapes against wilderness experiences in the West, the Arctic, and the Andes. They also traveled to Europe, confronting and interpreting long-venerated Old World sites. During the Civil War era, landscape painting attained unprecedented status. Leading artists, including Frederic Edwin Church and Albert Bierstadt, promoted expanding notions of landscape on larger canvases that rivaled history paintings (such as Emanuel Leutze's Washington Crossing the Delaware) in both scale and message. Their entrepreneurial spirit resulted in the "great picture" -- a reference to size but also to the makers' ambitions, the government's exercise of eminent domain, and the quest to preserve the Union. Artists showed large paintings as well as sculptures in theatrical settings and charged admission to see them.
70. METAA1_160915_425.JPG: Jasper Francis Cropsey The Valley of Wyoming, 1865
71. METAA1_160915_431.JPG: The Valley of Wyoming, J.F. Cropsey On Susquehanna's side, fair Wyoming! Although the wild flowers on thy ruined wall And roofless homes a sad remembrance bring Of what thy gentle people did befall, Yet thou wert once the loveliest land of all That see the Atlantic's wave their morn restore. ... beneath the skies. The happy shepherd swains had naught to do But feed their flocks on green declivities, Or skim perchance thy lake with light canoe. So sweet a spot of earth, you might, (I ween) Have guess'd some congregation of the elves, To sport by summer moons, had shaped it for themselves. -- Campbell
72. METAA1_160915_439.JPG: Erastus Dow Palmer The White Captive, 1857-58, this carving 1858-59
73. METAA1_160915_446.JPG: Martin Johnson Heade Hummingbirds and Passionflowers, c 1875-85
74. METAA1_160915_450.JPG: Frederic Edwin Church The Aegean Sea, ca 1877
75. METAA1_160915_464.JPG: Frederic Edwin Church The Parthenon, 1871
76. METAA1_160915_469.JPG: Ames Van Wart Indian Vase, 1876
77. METAA1_160915_481.JPG: William Bradford An Arctic Summer: Boring through the Pack in Melville Bay, 1871
78. METAA1_160915_489.JPG: Jules Tavernier Dance in a Subterranean Roundhouse in Clear Lake, California, 1878
79. METAA1_160915_501.JPG: George Inness Peace and Plenty, 1865
80. METAA1_160915_524.JPG: Albert Bierstadt Study of Indian Chiefs Made at Fort Laramie, ca 1859
81. METAA1_160915_531.JPG: Albert Beirstadt The Rocky Mountains, Lander's Peak, 1863
82. METAA1_160915_544.JPG: Albert Bierstadt Sunrise on the Matterhorn, ca 1875-85
83. METAA1_160915_559.JPG: Emanuel Leutze Washington Crossing the Delaware, 1851
84. METAA1_160915_567.JPG: The Metropolitan Sanitary Fair on 1864 The Metropolitan Fair in Aid of the United States Sanitary Commission, held in and around New York's Union Square in April 1864, was organized to elicit patriotic fervor and national pride and to raise money for the commission President Abraham Lincoln had created in 1861 to coordinate volunteer efforts, principally by women, related to conditions in camps and hospitals during the Civil War. One portion of the fair was an art exhibition. Dominating the northern wall of the paintings gallery was Emanuel Leutze's Washington Crossing the Delaware in its original, monument trophy-style frame (now lost but recently reproduced after a photograph by Mathew B. Brady). The care that went into the arrangement of the gallery was signaled by the handing of Frederick Edwin Church's Heart of the Andes and Albert Bierstadt's Rock Mountains, Lander's Peak directly opposite one another (as they are here). Contemporary accounts record that visitors read these two landscapes as signifying the contrast between the South and the North -- Church's Ecuadorean scene versus Bierstadt's view of the American West. Displayed between them, the Leutze made a visual and ideological transition through the display to reinforce the theme of fighting for the nation.
85. METAA1_160915_570.JPG: "The Metropolitan Sanitary Fair -- The Art Gallery," Frank Leslie's Illustrated Newspaper, April 1864
86. METAA1_160915_573.JPG: Hiram Powers George Washington, 1838-44, this carving, after 1844
87. METAA1_160915_579.JPG: Sanford R. Gifford Isola Bella in Lago Maggiore, 1871
88. METAA1_160915_586.JPG: Sanford R. Gifford Tivoli, 1870
89. METAA1_160915_601.JPG: Frederic Edwin Church Heart of the Andes, 1859
90. METAA1_160915_615.JPG: Unidentified photographer (possibly J. Gurney and Son, New York). Heart of the Andes in its original frame at the Metropolitan Sanitary Fair, New York, April 1864.
91. METAA2_160915_006.JPG: Civil War Era, 1860-1880 Although Hudson River School painters such as Sanford R. Gifford painted eyewitness accounts of the Civil War (1861-85) that emphasized landscape, the war, on balance, coincided with a resurgence in figural art. Examples of both tendencies are displayed in this gallery. In painting, the figural trend was represented most vigorously by the Boston-born, New York-headquartered Winslow Homer, who visited the Union front as an artist-correspondent for the popular magazine Harper's Weekly. After the war, Augustus Saint-Gaudens and other sculptors produced portrait busts and statues to commemorate its heroes and martyrs. Painters and sculptors alike also found subjects in the nascent liberty and inherited poverty of America's former slaves.
92. METAA2_160915_012.JPG: Augustus Saint-Gaudens General William Tecumseh Sherman, 1888, this cast, 1910
93. METAA2_160915_018.JPG: John Steuart Curry John Brown, 1939
94. METAA2_160915_026.JPG: Leonard Wells Volk and Augustus Saint-Gaudens Right Hand and Life Mask of Abraham Lincoln, 1860, these casts, 1886 In 1860, Volk made molds of the face and hands of Abraham Lincoln (1809-1865). The life mask reproduces Lincoln's beardless face as it appeared during his first presidential campaign. The hand grips a broomstick, a prop that Lincoln improvised upon Volk's suggestion that he hold something cylindrical resembling a document. In 1886, Saint-Gaudens, the collectors Thomas B. Clarke and Erwin Davis, and the journalist Richard W. Gilder together purchased the original plaster casts to present to the Smithsonian Institution. To finance the donation, they sold bronze and plaster casts after Volk's originals, with production supervised by Saint-Gaudens.
95. METAA2_160915_038.JPG: Thomas Hovenden The Last Moments of John Brown, 1882-84
96. METAA2_160915_046.JPG: The Last Moments of John Brown Thomas Hovenden
97. METAA2_160915_050.JPG: Winslow Homer Rainy Day in Camp, 1871
98. METAA2_160915_059.JPG: John Rogers "Wounded to the Rear": One More Shot, 1864, this case, 1865
99. METAA2_160915_066.JPG: Winslow Homer Prisoners from the Front, 1866
100. METAA2_160915_074.JPG: Augustus Saint-Gaudens Admiral David Glasgow Farragut, 1879-80; this cast, 1910
101. METAA2_160915_082.JPG: Winslow Homer The Veteran in a New Field, 1865
102. METAA2_160915_086.JPG: Thomas Waterman Wood A Bit of War History: The Contraband; The Recruit; The Veteran, 1865-66
103. METAA2_160915_101.JPG: John Quincy Adams Ward The Freedman, 1863; this cast, 1891
104. METAA2_160915_106.JPG: Charles Calverley Little Ida, 1869, this carving, 1881
105. METAA2_160915_111.JPG: Augustus Saint-Gaudens Abraham Lincoln: The Man (Standing Lincoln); 1884-87; reduced version, 1910; this cast, 1911
106. METAA2_160915_121.JPG: Winslow Homer Dressing for the Carnival, 1877
107. METAA2_160915_135.JPG: Thomas Anshutz The Way They Live, 1879
108. METAA2_160915_141.JPG: Theodor Kaufmann On to Liberty, 1867
109. METAA2_160915_153.JPG: Life in America, 1860s-1890s The enormous socio-economic and political change brought on by America's Civil War (1861-65) led many artists to depict reassuring slices of life, often in the domestic sphere. Some represented women grappling with the new roles and responsibilities after the loss of so many men in combat. Others portrayed children as expressions of longing for prewar innocence and hope for a more peaceful future. Still others embraced historical subjects associated with the nation's centennial. As the agrarian basis of American life increasingly yielded to urbanization and industrialization, artists who lived, studied, worked, and sought patronage in cities celebrated old-fashioned rural locales as well as nature's bounty and manufactured objects in genre and still-life painting.
110. METAA2_160915_155.JPG: Augustus Saint-Gaudens The Children of Prescott Hall Butler, 1880-81, this carving, 1906-07
111. METAA2_160915_160.JPG: Charles Ethan Porter Untitled (Cracked Watermelon), ca 1890
112. METAA2_160915_166.JPG: John Haberle A Bachelor's Drawer, 1890-94
113. METAA2_160915_174.JPG: William Michael Harnett Still Life -- Violin and Music, 1888
114. METAA2_160915_179.JPG: John F. Peto Old Souvenirs, ca 1881-1901
115. METAA2_160915_185.JPG: Henry Mosler Just Moved, 1870
116. METAA2_160915_201.JPG: Augustus Saint-Gaudens William Maxwell Everts, 1872-73, this carving, 1874
117. METAA2_160915_210.JPG: John George Brown The Music Lesson, 1870
118. METAA2_160915_220.JPG: Eastman Johnson The Hatch Family, 1870-71
119. METAA2_160915_239.JPG: Seymour Joseph Guy The Contest for the Bouquet: The Family of Robert Gordon in Their New York Dining Room, 1866
120. METAA2_160915_248.JPG: John Quincy Adams Ward William Tilden Blodgett, 1865
121. METAA2_160915_251.JPG: Eastman Johnson Christmas-Time, The Blodgett Family, 1864
122. METAA2_160915_258.JPG: Winslow Homer Snap the Whip, 1872
123. METAA2_160915_265.JPG: Eastman Johnson Corn Husking at Nantucket, ca 1875
124. METAA2_160915_270.JPG: Enoch Wood Perry Talking It Over, 1872
125. METAA2_160915_276.JPG: Daniel Chester French The Concord Minute Man of 1775, 1871-75; this cast ca 1913
126. METAA2_160915_282.JPG: Eastman Johnson The New Bonnet, 1876
127. METAA2_160915_288.JPG: In the Artist's Studio, 1865-1900 In the post-Civil War years, American society became increasingly professionalized. For artists, this was expressed in their newly self-conscious approach to creative practice and professional identity. Scenes of artists at work -- teaching, painting, sculpting, and relaxing in their studios -- were among the most popular subjects in the late nineteenth century, along with images of craftsmen and scientists. While one celebrated modern life, the other evoked nostalgia for fast-fading handicraft traditions. The Philadelphia- and Paris-trained Thomas Eakins treated both subjects. This celebrated realist was also an influential teacher, serving as director of the Pennsylvania Academy of Fine Arts and professor of painting from 1882 to 1886. During his tenure, the academy was known for offering the most exhaustive and "radical" art education in the country, defined largely by Eakin's insistence on an early introduction to painting from the nude.
128. METAA2_160915_291.JPG: Thomas Eakins The Writing Master, 1882
129. METAA2_160915_296.JPG: Thomas Eakins The Chess Players, 1876
130. METAA2_160915_302.JPG: Thomas Eakins Pushing for Rail, 1874
131. METAA2_160915_308.JPG: Thomas Eakins The Champion Single Sculls (Max Schmitt in a Single Scull), 1871
132. METAA2_160915_312.JPG: Thomas Eakins The Artist's Wife and His Setter Dog, ca 1884-89
133. METAA2_160915_317.JPG: A photogravure published in M.G. Van Rensselaer, Book of American Figure Painters (1886), shows the painting before Eakins reworked it.
134. METAA2_160915_320.JPG: Thomas Eakins Carmelita Requena, 1869
135. METAA2_160915_324.JPG: Kenyon Cox Augustus Saint-Gaudens, 1887, this replica, 1908
136. METAA2_160915_334.JPG: Augustus Saint-Gaudens Mrs. Schuyler Van Rensselaer (Mariana Griswold), 1888, this cast 1890
137. METAA2_160915_346.JPG: Augustus Saint-Gaudens (1848-1907) In Paris in the late 1870s, Saint-Gaudens completed some twenty low-relief portraits of artists and friends as gifts or in exchange for a work of art by the sitter. He perfected an aesthetic -- inspired by contemporary French practice -- in which naturalism and surface bravado are paramount. Many of the reliefs reveal the sculptor's preference for shoulder-length profile portraits with personalized inscriptions and attributes. Saint-Gaudens's first foray into medallic art occurred in 1880 with his rendering of painter John Singer Sargent (#11), and he delighted in modeling informal portraits on a hand-held scale throughout his career. His first official medal commemorated in 1889 centennial of George Washington's inauguration as the first president of the United States (#5, #6). In its format, and in other medals to follow, the sculptor's indebtedness to Italian Renaissance medalists, especially Antonio Pisano (Pisanello), is evident. Saint-Gaudens led the way for a flowering of medallic art in the early twentieth century, with many of his studio assistants working closely on these commissions and others.
138. METAA2_160915_347.JPG: Lewis Moeller Sculptor's Studio, ca 1880-90
139. METAA2_160915_359.JPG: Henry Alexander In the Laboratory, ca 1885-87
140. METAA2_160915_366.JPG: Charles Courtney Curran Fair Critics, 1887
141. METAA2_160915_379.JPG: Winslow Homer The Studio, 1867
142. METAA2_160915_384.JPG: Stacy Tolman The Etcher, ca 1887-89
143. METAA2_160915_393.JPG: Charles Frederick Ulrich Glass Blowers of Murano, 1886
144. METAA2_160915_401.JPG: Thomas Eakins Arcadia, 1883
145. METAA2_160915_409.JPG: Samuel Aloysius Murray Thomas Eakins, 1907, this cast, by 1923
146. METAA3_160915_001.JPG: The West, 1860-1910 Beginning in the 1820s, the American West inspired artists to explore its vast thematic potential, from the breathtaking beauty of the landscape to the gripping adventures of scouts and trappers. Later in the nineteenth century, industrialization and urbanization fueled a market for art that mythologized the vanishing frontier, while the saturation of American culture with genteel sentimentality inspired a countervailing yearning for heroes who tested their manhood in dangerous lands. Frederic Remington and other painters and sculptors represented in this gallery celebrated cowboys and cavalrymen, who also emerged as stars of fiction, the popular press, and motion pictures. At the same time, the government's slaughter of the buffalo herds and the decimation and relocation of native peoples encouraged artists to glorify endangered animals and to commemorate American Indians as a noble, doomed race.
147. METAA3_160915_003.JPG: Charles Schreyvogel In Hot Pursuit, after 1900
148. METAA3_160915_013.JPG: Charles Schreyvogel My Bunkie, 1899
149. METAA3_160915_024.JPG: Frederic Remington The Old Dragoons of 1850, 1905; this cast, 1907
150. METAA3_160915_034.JPG: Frederic Remington On the Southern Plains, 1907
151. METAA3_160915_044.JPG: Ernest Blumenschein Homeward Bound, 1941
152. METAA3_160915_052.JPG: Frederic Remington The Broncho Buster, 1895, revised 1909, this cast, by November 1910
153. METAA3_160915_067.JPG: Hermon Atkins MacNeil A Chief of the Multnomah Tribe, 1903, this cast, probably 1907
154. METAA3_160915_072.JPG: Alexander Phimister Proctor Indian Warrior, 1898; this cast, ca 1913-17
155. METAA3_160915_079.JPG: James Earle Fraser End of the Trail, 1918, this cast, by 1919
156. METAA3_160915_096.JPG: Emanuel Leutze Indians Attacking a Wagon Train, 1863
157. METAA3_160915_110.JPG: Alexander Phimister Proctor Buffalo, 1912, cast 1913 or after
158. METAA3_160915_113.JPG: Albert Bierstadt Merced River, Yosemite Valley, 1866
159. METAA3_160915_122.JPG: Olin Levi Warner Seven portrait medallions of Columbia River Indians, 1891, these casts, 1906
160. METAA3_160915_130.JPG: Thomas Moran The Teton Range, 1897
161. METAA3_160915_139.JPG: Frederic Remington The Mountain Man, 1903, this cast, by March 1907
162. METAA3_160915_145.JPG: Frederic Remington The Cheyenne, 1901, this cast, by March 1907
163. METAA3_160915_149.JPG: Cyrus Edwin Dallin Appeal to the Great Spirit, 1913, cast ca 1916
164. METAA3_160915_152.JPG: The Cosmopolitan Spirit, 1860-1900 In the late nineteenth century, the taste of American viewers and collectors changed in response to their expanded opportunities for travel; ready access to prints, photographs, and illustrations in magazines and journals; and familiarity with art in newly founded museums. As this audience, principally in the prosperous industrial Northeast, came to value contemporary Continental -- especially French -- art, American artists working in all media lived and studied abroad and investigated a wide range of subjects and styles in order to attract patronage. Operating in an increasingly professional and complex art world, they found their prospects enhanced for displaying and marketing their works on both sides of the Atlantic. Their new range, sophistication, and ambitions are apparent throughout this gallery.
165. METAA3_160915_155.JPG: Henry Ossawa Tanner Flight into Egypt, 1923
166. METAA3_160915_160.JPG: Olin Levi Warner Twilight, 1877-78, this carving 1879
167. METAA3_160915_168.JPG: Albert Pinkham Ryder The Toilers of the Sea, ca 1880-85
168. METAA3_160915_175.JPG: Dwight William Tryon Dawn -- Early Spring, 1894
169. METAA3_160915_179.JPG: Frederick William MacMonnies Diana, 1888-89, this cast, 1890
170. METAA3_160915_183.JPG: Thomas Wilmer Dewing The Letter, 1895-1900
171. METAA3_160915_189.JPG: Frederick William MacMonnies Young Faun with Heron, 1889-90, this cast, 1890
172. METAA3_160915_193.JPG: Thomas Wilmer Dewing Tobias and the Angel, 1887
173. METAA3_160915_198.JPG: Elihu Vedder The Pleiades, 1885
174. METAA3_160915_206.JPG: Edwin Austin Abbey King Lear, Act 1, Scene 1, 1898
175. METAA3_160915_227.JPG: Elihu Vedder Faces in the Fire, 1887, cast 1888
176. METAA3_160915_232.JPG: James Jebusa Shannon Magnolia, 1899
177. METAA3_160915_237.JPG: Charles Sprague Pearce Arab Jeweler, ca 1882
178. METAA3_160915_245.JPG: Theodore Wores Chinese Musicians, 1884
179. METAA3_160915_252.JPG: Robert Blum The Ameya, by 1893
180. METAA3_160915_262.JPG: Paul Wayland Bartlett Bear Cub Grooming, 1887 Bohemian Bear Tamer, 1887
181. METAA3_160915_265.JPG: Paul Wayland Bartlett Bear Cub Grooming, 1887
182. METAA3_160915_268.JPG: Paul Wayland Bartlett Bohemian Bear Tamer, 1887
183. METAA3_160915_273.JPG: Images of Women, 1880-1910 Around 1900 refined women were favored subjects of many American artists. The works in this gallery reflect the contemporary notion that a woman's proper sphere was within a harmonious interior, absorbed in cultivated pastimes, or in a sheltered outdoor setting, engaged in leisure activities. These works also suggest the wide range of styles that artists enlisted to depict their genteel subjects. Women artists were especially successful in describing women's activities at first hand. Among them were the painter, pastellist, and printmaker Mary Cassatt, who settled in Paris in 1874, responded to the influence of the French Impressionists, and became the only American to participate in their exhibitions; and the sculptor Bessie Potter Vonnoh, who worked principally in New York and produced statuettes of women in conventional roles.
184. METAA3_160915_276.JPG: William McGregor Paxton Tea Leaves, 1909
185. METAA3_160915_281.JPG: Cecilia Beaux Ernesta (Child with Nurse), 1894
186. METAA3_160915_285.JPG: Thomas Anshutz A Rose, 1907
187. METAA3_160915_292.JPG: John White Alexander Study in Black and Green, by 1906
188. METAA3_160915_298.JPG: Mary Cassatt Lady at the Tea Table, 1883-85
189. METAA3_160915_303.JPG: Augustus Saint-Gaudens Mrs. Stanford White (Bessie Springs Smith), 1884, this carving, by 1888
190. METAA3_160915_309.JPG: Mary Cassatt Lydia Crocheting in the Garden at Marly, 1880
191. METAA3_160915_317.JPG: James Jebusa Shannon Jungle Tales (Contes de la jungle), 1895
192. METAA3_160915_322.JPG: Mary Cassatt Portrait of a Young Girl, 1899
193. METAA3_160915_332.JPG: Bessie Potter Vonnoh A Young Mother, 1896, this cast, ca 1906
194. METAA3_160915_336.JPG: Mary Cassatt Young Mother Sewing, 1900
195. METAA3_160915_343.JPG: Bessie Potter Vonnoh Girl Dancing, 1897, this cast, ca 1906
196. METAA3_160915_346.JPG: Lilian Westcott Hale Celia's Arbor, ca 1910
197. METAA3_160915_354.JPG: Edmund Charles Tarbell Across the Room, ca 1899
198. METAA3_160915_362.JPG: Herbert Adams La Jeunesse, ca 1894, this carving, ca 1899-1900
199. METAA3_160915_367.JPG: John White Alexander Repose, 1895
200. METAA3_160915_374.JPG: Alfred David Lenz Pavlova, 1916
201. METAA3_160915_378.JPG: Adolph Alexander Weinman Descending Night, ca 1914, this cast, by 1917
202. METAA3_160915_384.JPG: The Color of Bronze While the act of modeling a sculpture directly reflects the artist's creative choices, the appearance of the final bronze is usually the shared responsibility of the sculpture and the founders -- mold makers, casters, chasers, and patineurs -- who jointly make decisions regarding color, texture, scale, and form. In the nineteenth and twentieth centuries, bronzes were often replicated in large editions, and surface finishing was a means of expressing the individuality of each cast. Patinas can range in color from conventional black and brown to more innovative red, gold, silver, blue, and green. Likewise, textures vary from smooth and polished to matte and rough. Artists also experimented by chemically "antiquing" bronzes to produce deliberated aged -- and weathered -- looking surfaces.
203. METAA3_160915_387.JPG: Alexander Stirling Calder Scratching Her Heel, 1921
204. METAA3_160915_390.JPG: Emil Fuchs La Pensierosa, 1912
205. METAA3_160915_394.JPG: Paul Wayland Bartlett Seated Torso of a Woman, ca 1895, this cast, ca 1909
206. METAA3_160915_397.JPG: Paul Wayland Bartlett Standing Torso of a Woman, ca 1894-95, this cast, ca 1909
207. METAA3_160915_401.JPG: American Impressionism and Realism, 1880-1920 During the 1880s, after studying in Paris, American artists returned home and began to experiment with French Impressionism. Among the most celebrated of these artists were William Merritt Chase, who painted Impressionist scenes of New York's public parks and of the seaside at Shinnecock, Long Island, and Childe Hassam, who became the leading Impressionist chronicler of New York and New England. Rejecting the prevailing trends of academism and Impressionism, a modern, rugged realism emerged in the early twentieth century in the work of such artists as Rockwell Kent and George Bellows. Their canvases portray the emergence of the modern city, technology, and engineering prowess while also celebrating the vitality of nature in the American landscape.
208. METAA3_160915_403.JPG: Childe Hassam Surf, Isles of Shoals, 1913
209. METAA3_160915_408.JPG: Childe Hassam Celia Thaxter's Garden, Isles of Shoals, Maine, 1890
210. METAA3_160915_414.JPG: Childe Hassam The Water Garden, 1909
211. METAA3_160915_417.JPG: Childe Hassam The Church at Gloucester, 1918
212. METAA3_160915_422.JPG: Childe Hassam Avenues of the Allies, Great Britain, 1918, 1918
213. METAA3_160915_427.JPG: Frank W. Benson Children in Woods, 1905
214. METAA3_160915_431.JPG: Frederick Carl Frieseke Summer, 1914
215. METAA3_160915_435.JPG: Mary Cassatt Lilacs in a Window (Vase de lilas a la fenetre), ca 1880-83
216. METAA3_160915_445.JPG: William Ordway Patridge Peace, ca 1898
217. METAA3_160915_450.JPG: Augustus Saint-Gaudens Diana, 1893-94, this cast, 1894 or later
218. METAA3_160915_454.JPG: Robert Reid Fleur de Lis, ca 1895-1900
219. METAA3_160915_460.JPG: Mary Cassatt Ellen Mary Cassatt, ca 1899
220. METAA3_160915_469.JPG: George Bellows Up the Hudson, 1908
221. METAA3_160915_476.JPG: Samuel Halpert The Flatiron Building, 1919
222. METAA3_160915_483.JPG: Rockwell Kent Winter, Monhegan Island, 1907
223. METAA3_160915_489.JPG: Karl Bitter Diana, 1910
224. METAA3_160915_492.JPG: Edward Francis McCartan Diana, 1923
225. METAA3_160915_498.JPG: American Impressionism, 1880-1920 Having met Claude Monet in Paris, probably in 1876, the expatriate John Singer Sargent was inspired to experiment with Impressionism. Throughout his successful career as a portraitist headquartered in London (as evidenced in adjacent gallery 771), Sargent would also refresh his studio work by painting out of doors in both oils and watercolors. By 1887, several other American artists had been attracted to Giverny, on the Seine about fifty miles northwest of Paris, initially by its charm and then by the presence of Monet, who had settled in the village in May 1883. (Sargent also called on Monet there in the 1880s.) Theodore Robinson became the leader of the American Giverny group, first visiting in 1885 and spending months there annual from 1887 until 1892. Back in the United States, Robinson and Childe Hassam shared their enthusiasm for French Impressionism with their American colleagues, including John H. Twachtman and J. Alden Weir, who became converts to the style.
226. METAA3_160915_501.JPG: John Singer Sargent Tyrolese Crucifix, 1914
227. METAA3_160915_510.JPG: Augustus Saint-Gaudens Davida Johnson Clark, 1886
228. METAA3_160915_513.JPG: John Singer Sargent Abries, ca 1912
229. METAA3_160915_516.JPG: John Singer Sargent Tyrolese Interior, 1915
230. METAA3_160915_522.JPG: Evelyn Beatrice Longman Victory, 1903, this cast, 1908
231. METAA3_160915_526.JPG: Augustus Saint-Gaundens Head of Victory, 1897-1903, this cast, 1907
232. METAA3_160915_529.JPG: John Quincy Adams Ward Henry Ward Beecher, 1891, this cast, after 1910
233. METAA3_160915_533.JPG: American Public Sculpture The years between the Civil War and World War I constituted the great age of American civic sculpture in bronze. Monuments were commissioned to commemorate military heroism and sacrifice, the work of the founding fathers, and such allegorical themes as cultural progress and nationhood. Along with the rise of outdoor sculpture, an ancillary market developed for models of and reductions after monuments -- in effect, bringing public sculptures into private homes. Preparatory models represent an artist's vision for a monument before translation into bronze or stone; reductions are small-scale reproductions after statues already in existence; and excerpts replicate part of a larger whole, sometimes with compositional modifications.
234. METAA3_160915_536.JPG: Daniel Chester French Maquette: Architecture, 1898
235. METAA3_160915_541.JPG: Daniel Chester French Maquette: Painting and Sculpture, 1899
236. METAA3_160915_545.JPG: George Inness Spring Blossoms, Montclair, New Jersey, ca 1891
237. METAA3_160915_549.JPG: Olin Levi Warner J. Alden Weir, 1880, this cast, 1897-98
238. METAA3_160915_553.JPG: J. Alden Weir The Red Bridge, 1895
239. METAA3_160915_559.JPG: J. Alden Weir The Factory Village, 1897
240. METAA3_160915_563.JPG: William A. Harper The Trees, Early Afternoon, France, ca 1905
241. METAA3_160915_569.JPG: John H. Twachtman Arques-la-Bataille, 1885
242. METAA3_160915_574.JPG: Theodore Robinson A Bird's-Eye View, 1889
243. METAA3_160915_598.JPG: John Singer Sargent Padre Sebastiano, ca 1905-06
244. METAA3_160915_601.JPG: John Singer Sargent The Hermit (Il solitario), 1908
245. METAA3_160915_610.JPG: John Singer Sargent Bringing Down Marble from the Quarries to Carrara, 1911
246. METAA3_160915_621.JPG: John Singer Sargent Egyptians Raising Water from the Nile, 1890-91
247. METAA3_160915_627.JPG: Winslow Homer, 1836-1910 This gallery highlights the work and career of the acclaimed American painter Winslow Homer. The Metropolitan Museum of Art's Homer collection ranges from his early anecdotal accounts of American life to later iconic meditations on universal themes. Many of these oils and watercolors entered the Museum's collection in the years that Homer was widely recognized as an American Old Master -- a true Yankee Original. Relocating in 1883 from New York City to coastal Prouts Neck, Maine, Homer continuously observed and recorded the sea under different weather conditions and times of day. After 1890 he generally abandoned direct narrative to concentrate on the fierce beauty and power of the sea itself. American sculptors in these years also celebrated New England as the nation's reassuring cultural bedrock, as seen in the historical subjects of Augustus Saint-Gaudens.
248. METAA3_160915_630.JPG: Winslow Homer The Bathers, 1882
249. METAA3_160915_634.JPG: Winslow Homer Flower Garden and Bungalow, Bermuda, 1899
250. METAA3_160915_638.JPG: Winslow Homer Nassau, 1899
251. METAA3_160915_642.JPG: Winslow Homer Tile Fireplace Surround (Shepherd and Shepherdess), 1878
252. METAA3_160915_647.JPG: Winslow Homer Channel Bass, 1904
253. METAA3_160915_652.JPG: Winslow Homer Shore and Surf, Nassau, 1899
254. METAA3_160915_656.JPG: Winslow Homer Hurricane, Bahamas, 1898
255. METAA3_160915_660.JPG: Winslow Homer Sketch for The Gulf Stream, 1885
256. METAA3_160915_669.JPG: Winslow Homer Searchlight on Harbor Entrance, Santiago de Cuba, 1901
257. METAA3_160915_674.JPG: Winslow Homer The Gulf Stream, 1899
258. METAA3_160915_683.JPG: Winslow Homer Moonlight, Wood Island Light, 1894
259. METAA3_160915_688.JPG: Winslow Homer Camp Fire, 1880
260. METAA3_160915_696.JPG: Augustus Saint-Gaudens The Puritan, 1883-86, remodeled 1898, this cast, 1901 or later
261. METAA3_160915_701.JPG: Winslow Homer Eagle Head, Manchester, Massachusetts (High Tide), 1870
262. METAA3_160915_712.JPG: After Winslow Homer (1836-1910, "High Tide," published in Every Saturday, August 6, 1870.
263. METAA3_160915_719.JPG: Winslow Homer Maine Coast, 1896
264. METAA3_160915_725.JPG: Winslow Homer Cannon Rock, 1895
265. METAA3_160915_731.JPG: Winslow Homer Northeaster, 1895, reworked by 1901
266. METAA4_160915_001.JPG: Augustus Saint-Gaudens Victory, 1892-1903, this cast, 1912 or later (by 1916)
267. METAA4_160915_007.JPG: John Singer Sargent The Wyndham Sisters: Lady Echo, Mrs. Adeane, and Mrs. Tennant, 1899
268. METAA4_160915_014.JPG: James McNeill Whistler Arrangement in Flesh Color and Black: Portrait of Theodore Duret, ca 1883
269. METAA4_160915_020.JPG: Portraiture in the Grand Manner, 1880-1900 After the Civil War, the United States experienced profound changes, including rapid economic expansion and population growth, and emerged as a world power. Great wealth and a desire for conspicuous display characterized the period, which has been called the Gilded Age. American artists studied abroad, especially in Paris and Munich, and then competed with their European contemporaries for portrait commissions from American patrons. Both the patrons and painters were also aware of the mode of portraiture prevalent in Great Britain, which was at the apex of its imperial influence and prestige. John Singer Sargent, the quintessential American cosmopolite, was born in Italy, studied and worked in Paris, and operated thereafter with equal success in London, Boston, and New York. This gallery is a testament to the ability of Sargent and his contemporaries to capture on canvas the personalities of their acquaintances as well as paying patrons.
270. METAA4_160915_022.JPG: William Merritt Chase Lady in Black, 1888
271. METAA4_160915_029.JPG: Augustus Saint-Gaudens Robert Louis Stevenson, 1887-88, this cast, 1910
272. METAA4_160915_034.JPG: Youth now flees on feathered foot. Faint and fainter sounds the flute; Rarer songs of Gods. And still, Somewhere on the sunny hill, Or along the winding stream, Through the willows, flits a dream; Flits, but shows a smiling face, Flees, but with so quaint a grace, None can choose to stay at home, All must follow -- all must roam. This is unborn beauty: she Now in air floats high and free, Takes the sun, and breaks the blue; -- Late, with stooping pinion flew Raking hedgerow trees, and wet Her wing in silver streams, and set Shining foot on temple roof. Now again she flies aloof, Coasting mountain clouds, and kissed By the evening's amethyst. In wet wood and miry lane Still we pound and pant in vain; Still with earthy foot we chase Waning pinion, fainting face; Still, with grey hair, we stumble on Till -- behold! -- the vision gone! Where has fleeting beauty led? To the doorway of the dead! Life is over, life was gay, We have come the primrose way! MDCCCLXXXVII
273. METAA4_160915_038.JPG: John Singer Sargent Mrs. Hugh Hammersley, 1892
274. METAA4_160915_046.JPG: John Singer Sargent Ada Rehan, 1894-95
275. METAA4_160915_050.JPG: John Singer Sargent Lady with the Rose (Charlotte Louise Burckhardt), 1882
276. METAA4_160915_058.JPG: John Singer Sargent Madame X (Madame Pierre Gautreau), 1883-84
277. METAA4_160915_064.JPG: Photograph of Madame X before repainting of shoulder strap
278. METAA4_160915_067.JPG: John Singer Sargent Mr. and Mrs. I.N. Phelps Stokes, 1897
279. METAA4_160915_072.JPG: Thomas Eakins The Thinker: Portrait of Louis N. Kenton, 1900
280. METAA4_160915_077.JPG: The Ashcan, The Eight, and Modern America At the turn of the twentieth century, a group of urban realists -- William Glackens, George Luks, Everett Shinn, and John Sloan -- explored many dimensions of modern life in paintings, drawings, and prints. Working as newspaper illustrators in Philadelphia, they took classes at the Pennsylvania Academy of the Fine Arts and came under the tutelage of the charismatic artist and educator Robert Henri, who encouraged them to paint contemporary city scenes. Later dubbed the Ashcan group, all of the artists relocated to New York by 1904. They would go on to participate in several key exhibitions of progressive art in the city, from the 1908 showing of The Eight at the Macbeth Galleries to the 1913 Armory Show. The former laid the groundwork for modernism in American art, while the latter offered most Americans their first in-depth introduction to international modern art.
281. METAA4_160915_080.JPG: Maurice Prendergast Central Park, ca 1914-15
282. METAA4_160915_087.JPG: Ernest Lawson Harlem River, ca 1913
283. METAA4_160915_092.JPG: George Luks The Old Duchess, 1905
284. METAA4_160915_096.JPG: Gertrude Vanderbilt Whitney Head of a Spanish Peasant, 1911
285. METAA4_160915_101.JPG: William Glackens Central Park, Winter, ca 1905
286. METAA4_160915_106.JPG: John Sloan Dust Storm, Fifth Avenue, 1905
287. METAA4_160915_115.JPG: Everett Shinn Spanish Music Hall, 1902
288. METAA4_160915_121.JPG: Robert Henri Dutch Girl in White, 1907
289. METAA4_160915_125.JPG: Arthur B. Davies A Measure of Dreams, ca 1908
290. METAA4_160915_131.JPG: George Bellows Tennis at Newport, 1919
291. METAA4_160915_136.JPG: Jerome Myers The Mission Tent, 1906
292. METAA4_160915_141.JPG: Abastenia St. Leger Eberle Girl Skating, 1906
293. METAA4_160915_149.JPG: Late Hudson River School, 1860-80 Light became the virtual subject for many artists of the late Hudson River School. Several trends in European art had an impact on American painters, who traveled to the Old World in greater numbers than ever before. Inspired by French Barbizon painting, George Inness strove "to awaken an emotion" with his compositions' fragile beauty and restrained harmonies of color. In addition, new scientific theories involving natural law -- foremost among them, Charles Darwin's On the Origin of Species (1859) -- contributed to the changes in landscape art. In their preoccupation with light, these painters articulated simultaneously their interest in naturalistic effects and their perception of the spiritual essence of nature. They chose subjects closer to home, for an emerging vacationing class, that expressed the country's nostalgia for the waning wilderness. Likewise, sculptors embraced a new Realist aesthetic, modeling distinctly American subjects whose democratic overtones appealed to their clientele.
294. METAA4_160915_151.JPG: John Henry Hill A Study of Trap Rock (Buttermilk Falls), 1863
295. METAA4_160915_156.JPG: Worthington Whittredge The Trout Pond, 1870
296. METAA4_160915_160.JPG: Worthington Whittredge The Camp Meeting, 1874
297. METAA4_160915_177.JPG: Fitz Henry Lane Stage Fort across Gloucester Harbor, 1862
298. METAA4_160915_182.JPG: Martin Johnson Heade Newburyport Meadows, ca 1876-81
299. METAA4_160915_186.JPG: Martin Johnson Heade Approaching Thunder Storm, 1859
300. METAA4_160915_191.JPG: Sanford R. Gifford A Gorge in the Mountains (Kauterskill Clove), 1862
301. METAA4_160915_206.JPG: Launt Thompson Sanford R. Gifford, 1871
302. METAA4_160915_211.JPG: John Frederick Kensett Gathering Storm on Long Island Sound, 1872
303. METAA4_160915_217.JPG: John Frederick Kensett October in the Marshes, 1872
304. METAA4_160915_222.JPG: John Frederick Kensett Eaton's Neck, Long Island, 1872
305. METAA4_160915_228.JPG: John Frederick Kensett Lake George, 1869
306. METAA4_160915_236.JPG: John Frederick Kensett Passing Off of the Storm, 1872
307. METAA4_160915_243.JPG: Henry Kirke Brown Filatrice, 1850
308. METAA4_160915_253.JPG: George Innes Autumn Oaks, ca 1878
309. METAA4_160915_260.JPG: John Quincy Adams Ward The Indian Hunter, 1860, this cast, before 1910
310. METAA4_160915_264.JPG: Henry Kirke Brown Choosing of the Arrow, 1849
311. METAA4_160915_268.JPG: Emergence of the Hudson River School, 1825-50 The term "Hudson River School," first used in the 1870s as a dismissive epithet, is now generally accepted as an appropriate description of the dominant artistic vision that held sway in the United States from 1825 until 1875. The original, loosely knit group of artists and writers rose to prominence in New York City during the early nineteenth century. With Thomas Cole as their leader, they created an American landscape vision based on the exploration of nature, seen as a resource for spiritual renewal and an expression of cultural and national identity. The first painter to portray America in its wilderness state, Cole, with his early views of the Northeast, inspired successive generations of artists to embrace heroic landscape subjects grounded in the notion that what defined Americans was their relationship to the land.
312. METAA4_160915_276.JPG: Jerome B. Thompson The Belated Party on Mansfield Mountain, 1858
313. METAA4_160915_284.JPG: Martin Johnson Heade Hummingbird and Apple Blossoms, 1875
314. METAA4_160915_288.JPG: Thomas Cole Clouds, 1830s
315. METAA4_160915_294.JPG: Thomas Cole Wilderness Landscape Study, ca 1828-41
316. METAA4_160915_300.JPG: Erastus Dow Palmer Indian Girl, or The Dawn of Christianity, 1853-56, this carving, 1855-56
317. METAA4_160915_305.JPG: Edmonia Lewis Hiawatha, 1868 Minnehaha, 1868
318. METAA4_160915_310.JPG: Asher B. Durand Landscape -- Scene from "Thanatopsis", 1850
319. METAA4_160915_318.JPG: Thomas Cole The Mountain Ford, 1846
320. METAA4_160915_329.JPG: Henry Kirke Brown Thomas Cole, by 1850
321. METAA4_160915_334.JPG: Thomas Cole View on the Catskill -- Early Autumn, 1836-37
322. METAA4_160915_339.JPG: Thomas Chambers View of Springfield, Massachusetts, on the Connecticut River, ca 1840-45
323. METAA4_160915_345.JPG: Thomas Cole View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm -- The Oxbow, 1836
324. METAA4_160915_355.JPG: Thomas Cole Study for View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm -- the Oxbow, 1836
325. METAA4_160915_360.JPG: Thomas Cole The Titan's Goblet, 1833
326. METAA4_160915_368.JPG: Edward Hicks The Falls of Niagara, ca 1825
327. METAA4_160915_377.JPG: Asher B. Durand In the Woods, 1855
328. METAA4_160915_386.JPG: John Frederick Kensett Hudson River Scene, 1857
329. METAA4_160915_394.JPG: John William Casilear Lake George, 1857
330. METAA4_160915_410.JPG: Asher B. Durand The Beeches, 1845
331. METAA4_160915_416.JPG: Asher B. Durand Summer Afternoon, 1865
332. METAA4_160915_422.JPG: Asher B. Durand High Point: Shandaken Mountains, 1853
333. METAA4_160915_427.JPG: Portraiture and Still Life, 1800-1850 In the early nineteenth century, portraiture remained the focus for younger artists such as Thomas Sully and Samuel F.B. Morse, who executed portraits in the grand manner and in a painterly style. The best American portraitists of the Victorian era aimed for something more than straightforward likenesses -- they painted "fancy" pictures, often containing poetic or provocative elements, not just of individuals but of social types such as street vendors. Members of the Peale family of Philadelphia introduced still life as a worthy subject and highlighted both imported luxury goods and locally grown fruits and vegetables in their meticulously rendered paintings, while nature's bounty took on an exaggerated quality in the profusely abundant still lifes of the German-born Severin Roesen.
334. METAA4_160915_430.JPG: Thomas Sully Queen Victoria, 1838
335. METAA4_160915_435.JPG: Thomas Sully Queen Victoria, 1838
336. METAA4_160915_443.JPG: George P.A. Healy Euphemia White Van Rensselaer, 1842
337. METAA4_160915_447.JPG: Washington Allston The Spanish Girl in Reverie, 1831
338. METAA4_160915_454.JPG: Asher B. Durand, after John Vanderlyn Ariadne, ca 1831-35
339. METAA4_160915_458.JPG: John Vanderlyn Portrait of the Artist, 1800
340. METAA4_160915_463.JPG: Thomas Crawford The Babes in the Wood, ca 1850, this carving, 1851
341. METAA4_160915_487.JPG: Rembrandt Peale Michael Angelo and Emma Clara Peale, ca 1826
342. METAA4_160915_495.JPG: Samuel F. B. Morse Susan Walker Morse (The Muse), ca 1836-37
343. METAA4_160915_500.JPG: Charles Cromwell Ingham The Flower Girl, 1846
344. METAA4_160915_504.JPG: Doorway Frankford, Pennsylvania, ca 1776
345. METAA4_160915_508.JPG: Art in the Folk Tradition, 1800-1900 The Metropolitan Museum's collection of folk art was largely established in 1980 by the bequest of Colonel Edgar William and Bernice Chrysler Garbisch, who, like many collectors in the field, discovered folk art through twentieth-century eyes. The term "folk art" refers to a broad range of artistic approaches that are nevertheless unified by conventions of method, aesthetics, and circumstance. Even though they spent their careers moving from place to place to court local audiences, most folk artists were, in fact, highly trained and multitalented. Almost all favored strong colors, broad paint application, patterned surfaces, and skewed scale and proportion. They developed compositional formulas that allowed them to work quickly, with limited materials and in makeshift studios. With the introduction of photography in 1839, some folk artists rose to the challenge by embracing the new medium -- themselves becoming photographers -- and some by continuing to compete with it.
346. METAA4_160915_524.JPG: Erastus Salisbury Field Girl of the Bangs-Phelps Family, ca 1848
347. METAA4_160915_532.JPG: Ammi Phillips Mrs. Mayer and Daughter, 1835-40
348. METAA4_160915_536.JPG: Joshua Johnson Edward and Sarah Rutter, ca 1805
349. METAA4_160915_545.JPG: Edward Hicks Peaceable Kingdom, ca 1830-32
350. METAA4_160915_550.JPG: Edward Hicks Penn's Treaty, 1836
351. METAA4_160915_571.JPG: William H. Rumney Andrew Jackson, ca 1860 (painted pine)
352. METAA4_160915_576.JPG: Thomas Chambers The Constitution and the Guerriere, ca 1840-50
353. METAA4_160915_601.JPG: Lodewijk Tieling The Ark, ca 1700
354. METAA4_160915_617.JPG: The William and Mary Style, 1690-1730 At the end of the seventeenth century, new concepts derived from Baroque design came to England from the Continent. These ideas were reinforced by the ascension to the English throne of William of Orange and Mary Stuart in 1689. In the 1690s, the William and Mary style was introduced into the American colonies by both immigrant craftsmen and stylish imported furniture. Williams and Mary-style furniture emphasized verticality and was lighter in scale than its predecessors. Reflecting the movement and three-dimensional quality of Baroque design, forms were no longer strictly rectilinear. Curves enlivened "Spanish" feet, scrolled crests on chairs, and the skirts and stretchers of high chests. In case furniture, such as chests and desks, the William and Mary style featured trim lines and large, smooth surfaces, which were achieved by fine dovetailed-board construction -- a departure from the panel-and-frame tradition. Walnut and maple supplanted oak, and natural wood grains became valued for their decorative qualities, which were highlighted by the use of veneers. Craftsmen trained in dovetailing and veneering -- the techniques that made this newer visual expression possible -- began to be known as "cabinetmakers."
355. METAA4_160915_660.JPG: William Henry Rinehart Latona and Her Children, Apollo and Diana, 1874
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