DOCSLIB.ORG

Bibliography--Constantino Brumidi Artist of the Capitol

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bibliography--Constantino Brumidi Artist of the Capitol Bibliography Principal Archives and Manuscript Collections New York Tribune Philadelphia New York Evening Sun New York Herald Thomas U. Walter Papers, The Athenaeum of Philadelphia Record Philadelphia. Washington Times-Herald Rome Washington Post Accademia di San Luca, Archivio. Archives of the Washington Star Academy of St. Luke. Archivio Storico del Vicariate di Roma. Historical Published Sources: Books, reports, and articles archives of the vicariate of Rome. Ahrens, Kent. “Constantino Brumidi’s ‘Apotheosis of Archivio di Stato di Roma (Palazzo della Sapienza). Washington’ in the Rotunda of the United States Capi- Archives of the city of Rome. tol.” Records of the Columbia Historical Society of Wash- Archivio Segreto Vaticano (Vatican City). Vatican ington, D.C. 1973–1974(1976): 187–208. archives. Aikman, Lonnelle. “U.S. Capitol, Citadel of Democracy.” Washington, D.C. National Geographic102 (August 1952): 143–190. Records of the Architect of the Capitol. Allen, William C. The Dome of the United States Capitol: Jesuit Archives, Georgetown University. An Architectural History. Washington D.C.: Govern- Benjamin Brown French Papers; Montgomery C. Meigs ment Printing Office, 1992. Papers, Manuscript Division, Library of Congress. Amadei, Emma. “Il piu Piccolo Santuario mariano de Papers of the Commissioners of Public Buildings, Na- Roma: La Madonna dell’Archetto,” in L’Urbe, 12 tional Archives and Records Administration. (1949): 2, 15–18. Records of the Department of the Interior, National Apolloni, Marco, Alberta Campitelli, Antonio Pinelli, and Archives and Records Administration. Barbara Steindl. “Villa Torlonia: L’Ultima Impresa del U.S. Circuit Court Records, District of Columbia, Na- Mecenatismo Romano.” Ricerche di Storia dell’arte, tional Archives and Records Administration. 28–29 (1986). Mildred Thompson Papers, United States Senate Collection. ———. Villa Torlonia: L’ultima Impresa del Mecenatismo Romano.Rome: Istituto Poligrafico e Zecca dello Newspapers Stato, 1997. Baltimore Sun Architect of the Capitol. Art in the United States Capitol. Washington, D.C.: Government Printing Office, 1978. Baltimore Star Congressional Globe (Washington) ———. Annual Reports. Washington, D.C.: Government Constitutional Union (Washington) Printing Office, 1867–1947 and 1976– . Daily Critic (Washington) “Art in Washington.” The Round Table(New York), Feb- Daily Graphic (New York) ruary 20, 1868. Daily Mercury News (New Bedford, Massachusetts) “Art Desecration of Capitol.” Cosmopolitan Art Journal 2 Daily Evening Transcript (Boston) (1858): 134–135. Evening Telegraph (Philadelphia) Evening Star (Washington) Barker, Virgil. American Painting: History and Interpre- Evening Intelligencer (Washington) tation.New York: Macmillan Company, 1950. National Intelligencer (Washington) Berryman, Florence S. “Artists of Washington.” Records New York Times of the Columbia Historical Society 50 (1952): 215–233. 244 BIBLIOGRAPHY Birchfield, James. “Brumidi’s Church Paintings.” Wash- De Terreros, Manuel Romera, ed. Catalogos de las Exposi- ington Sunday Star Magazine, January 27, 1957. ciones de la Antiqua Academia de San Carlos de México, 1859–1898. Mexico: Imprenta Universitaria, 1963. Brown, Simon. “Letter from Mr. Brown.” New England Farmer(Joel Nourse, Proprietor), June 25, 1856. Diamond Jubilee of St. Aloysius Church Washington, D.C., 1859–1934. Washington, D.C.: W. F. Roberts Co., 1934. Brown, Glenn. History of the United States Capitol. 2 “Costantino Brumidi.” In Dizionario Biografico degli vols. Washington, D.C.: Government Printing Office, Italiani. Rome: Istituo della Enciclopedia Italian, 1900, 1902. 1960, 1972. “Brumidi: Artist and Citizen of the U.S.A.” The Link30 Documentary History of the Construction and Development (June 1972): 5–9. of the United States Capitol Building and Grounds. “Brumidi.” American Architect and Building News1 Washington, D.C.: Government Printing Office, 1904. (1876): 144. “Domestic Art Gossip.” The Crayon(May 1857): “Brumidi, Constantino.” In Dictionary of American Biog- 155–156. raphy, ed. Allen Johnson and Dumas Malone. 2d ed. Fairman, Charles E. Art and Artists of the Capitol of the New York: Charles Scribner’s Sons, 1958, 2:184–185. United States of America.Washington, D.C.: Govern- “Brumidi, Constantino.” In Allgemeines Lexikon Der ment Printing Office, 1927. Bildenden Kunstler von der Antike bis zur Gegenwart, ———. “Art of the Italian Artist in the United States ed. Ulrich Thieme and Felix Becker. Leipzig: E.A. See- Capitol.” Extension of Remarks of Hon. Fiorello H. man Verlag, 1911, 5:118. LaGuardia. Congressional Record, 71st Congress, 2d sess. January 29, 1930: 1–4. “Brumidic.”Art Digest (August 1930): 9. ———. Works of Art in the United States Capitol Building, “Brumidi’s Successor.”American Architect and Building Including Biographies of the Artists. Washington, D.C.: News 7, February 21, 1880. Government Printing Office, 1913. Campitelli, Alberta, and Barbara Steindl. “Costantino Fournier, Harry and John Fournier. Constantino Bru- Brumidi da Roma a Washington. Vicende e opere di un midi, The Michelangelo of the United States Capitol from artista romano,” Ricerche di Storia dell’arte: Pittori fra Filiatra Messinias Greece. Athens, Greece: E. O. B. Rivoluzione e Restaurazione,46 (1992): 49–59. Scarab Publishers, 1988. “Capitol Dome Restoration.” American History Illus- “Frieze in Dome of Capitol Must be Completed.” Christ- trated (April 1988): 8. ian Science Monitor, June 1913: 434–435. Checchetelli, Giuseppe. “Una giornata di osservazione nel Frary, I. T. They Built the Capitol. Richmond, Va.: Garrett Palazze e nella Villa di S.E. il Principe D. Alessandro Tor- and Massie, 1940. lonia.”Rome: Tipografia di Crispino Puccinelli, 1842. Frese, Joseph R. “Federal Patronage of Painting to 1860.” Cole, Donald B. and John J. McDonough, eds. Benjamin Capitol Studies: U.S. Capitol Historical Society2, no. 2. Brown French. Witness to the Young Republic: A Yankee’s Washington: U.S. Capitol Historical Society, 1974. Journal, 1828–1870. Hanover and London: University Fry, Smith D.Thrilling Story of the Wonderful Capitol Press of New England, 1989. Building and Its Marvelous Decorations. N.p., 1911. Cosentino, Andrew J. and Henry Glassie. The Capitol Fryd, Vivien Green. Art and Empire: The Politics of Eth- Image: Painters in Washington, 1800–1915. Washing- nicity in the United States Capitol, 1815–1860.New ton, D.C.: Smithsonian Institution Press, 1983. Haven: Yale University Press, 1992. Courtais, Henri G.“A Blind Approach to the Removal of Haley, William D., ed. Philip’s Washington Described. a Fresco.”Studies in Conservation 8 (February 1963): New York: Rudd and Carleton, 1861. 10–19. Hazelton, George, Jr. The National Capitol. Its Architec- Cox, Allyn. “Completing and Restoring the Capitol Fres- ture, Art and History.New York: J. F. Taylor and Com- cos. Part I: The Rotunda Frieze.” Museum News39 pany, 1897. (February 1961): 14–18. Henderson, Helen W. The Art Treasures of Washington. De Camillis, Lamberto.La Madonna dell’Archetto, Storia Boston: L. C. Page and Company, 1912. del piu’ piccolo santuario Mariano di Roma. Rome: Jervis, A.V. “Costantino Brumidi,” La Pittura in Italia: Edizione Soc. Promotrice Di Buone Opere, 1951. L’Ottocento. Milan: Electa, 1991. 245 Keim, DeB. Randolph. Keim’sCapitol Interior and Dia- O’Connor, Francis V. “A History of Painting in True grams: A Complete Guide to All Parts of the Capitol. Fresco in the United States: 1825 to 1945.” Fresco: A Washington, D.C.: N.p., 1874. Contemporary Perspective.New York: Snug Harbor ———. Keim’s Capitol Interior and Diagrams: A Com- Cultural Center, 1994. plete Guide to All Parts of the Capitol. 3rd. rev. ed. ———. “The Murals by Costantino Brumidi for the Washington, D.C.: N.p., 1875. United States Capitol Rotunda, 1860–1880: An Icono- ———. Keim’s Illustrated Hand–Book Washington and Its graphic Interpretation.” In The Italian Presence in Environs: A Descriptive and Historical Hand-Book to the American Art: 1860–1920, ed. Irma B. Jaffe. New York Capital of the United States of America. 3rd ed. Wash- and Rome: Fordham University Press and Istituto della ington, D.C.: M’Gill and Witherow, Printers and Enciclopedia Italian, 1992. Stereotypers, 1874. Oertel, J. F. A Vision Realized: A Life Story of Rev. J. A. ———. Keim’s Illustrated Hand-Book: Washington and Its Oertel, D.D., Artist, Priest, Missionary. Boston: Environs: A Descriptive and Historical Hand-Book to the Christopher Publishing House, 1928. Capital of the United States of America. 7th ed. Wash- Peclaris, P. B. “Constantinos Brumidis: The Greek ington, D.C.: N.p., 1875. Painter Who Decorated the U.S. Capitol.” Hellenic Re- Kloss, William. Art in the White House: A Nation’s Pride. view4 (April 1963): 19. Washington, D.C.: White House Historical Associa- Rider, Fremont, ed. Rider’s Washington: A Guide Book for tion, 1992. Travelers. New York: Macmillan Company, 1924. Leupp, Francis E. Walks About Washington. Boston: Lit- Roose’s Companion and Guide to Washington and Vicinity. tle, Brown and Company, 1915. Washington, D.C.: Gibson Brothers Printers, 1880. Lilli, Maria Sofia.Aspetti dell’arte neoclassica: Sculture Scott, Pamela. Temple of Liberty. New York: Oxford Uni- nelle Chiese romane 1780–1846.Rome: Istituto versity Press, 1995. Nazionale di Studi Romani, 1991. “Sketchings: Art on the Capitol, Washington.” The Marinacci, Barbara. They Came from Italy. Stories of Fa- Crayon(October 1858): 296–296. mous Italian-Americans. New York: Dodd, Mead and Company, 1967. “Sketchings: The Capitol-Extension.”
Load more

Recommended publications
  • ALLA CORRENTE Constantino Brumidi
    ALLA CORRENTE Constantino Brumidi Constantino Brumidi (July 26, 1805 - February 19, 1880) was a Greek/Italian-American historical painter, best known and honored for his fresco work in the Capitol Building in Washington, DC. He was born in Rome; his father was Greek and his mother was Italian. After studying at the Italian Academy of Arts, he showed his talent for fresco painting and painted in several Roman palaces, among them that of Prince Torlonia. Under Pope Gregory XVI he worked for three years in the Vatican as a fresco artist. The occupation of Rome by French forces in 1849 apparently convinced Brumidi that he had to emigrate. He had joined the short-lived Roman Republic of the Risorgimento and with its collapse he saw that there was no future for him or his artistic talent in Rome. So he sailed for the United States, where he became a naturalized citizen in 1852 at the age of forty-seven. Taking up his residence in New York City, he painted a number of portraits. Following these, he undertook more important works, the primary one being a fresco of the Crucifixion in St. Stephen’s Church, for which he also painted a Martyrdom of St. Stephen and an Assumption of Mary. He also painted frescoes at Taylor’s Chapel in Baltimore, Maryland. In 1854 Brumidi went to Mexico, where he painted an allegorical representation of the Holy Trinity in the cathedral of Mexico City. On his way back to New York, he stopped in Washington, DC and visited the U.S. Capitol.
    [Show full text]
  • Ch 5-Getting Established in the New World--Constantino Brumidi Artist of the Capitol
    CHAPTER 5 Getting Established in the New World onstantino Brumidi opportunity to paint the first arrived in New York frescoed room in the Capitol Conly a few months (fig. 5–1). after his release from prison As recorded in the Bible in Rome, ready to begin a given to him by the American new career in the United Bible Society upon his arrival States. He later said he emi- (fig. 5–2), Constantino Bru- grated as much for artistic midi landed in New York on opportunities as because of September 18, 1852, coinci- his political exile, “desiring a dentally the fifty-ninth an- broader field and more prof- niversary of the laying of the itable market for his work.”1 cornerstone of the Capitol by He had promises of church George Washington. His commissions through Ameri- commitment to his new can clergymen he knew in country was clear, for, at the Fig. 5–2. Inside cover of Brumidi’s Bible. The artist Rome, and he probably end of November, he filed a recorded the date of his arrival in the United States. Architect heard about the construction statement of intent to be- of the Capitol. at the Capitol from expatri- come a United States citizen.2 ate American artists such as During the next two Thomas Crawford, who served with him in the civic years, Brumidi earned his living chiefly by painting por- guard. In the two years between his arrival in the New traits and decorating private houses in the northeastern World in the fall of 1852 and his coming to Washington, United States.
    [Show full text]
  • Constantino Brumidi Artist of the Capitol
    Chronology of Constantino Brumidi’s Life and Work (COMPILEDWITHJULIEA. ARONSON) Note: Events in italics are provided for context 1805 July 26.Born in Rome, Italy, the only sur- Vatican Palace, under the supervision of Ca- viving child of Stauro Brumidi of Greece and muccini and Filippo Agricola. Anna Maria Bianchini of Rome, owners of a Paints frescoes in the neogothic family chapel coffee shop at number 26, Via Tor de’ Conti. designed by G.B. Caretti on the third floor c. 1818 Begins a fourteen-year study of art at Accad- of the Palazzo Torlonia, Piazza Venezia. Also emia di San Luca (Academy of St. Luke), paints Roman stories in the galleries on the headed by Antonio Canova. Studies sculp- second floor. ture with Bertel Thorwaldsen and painting 1841 Construction of the theater of the Villa Tor- with Vincenzo Camuccini. lonia begins. 1821–1823Wins prizes at the academy, including a fifth 1842 January 19.Birth of his son, Giuseppe An- prize for his copy of a sculpture of Apollo, a tonio Raffaello Brumidi. second prize for his copy of a painting of a March. Work on the Third Loggia com- cupid by Gaspare Landi (former teacher at pleted. the academy), and a commendation for his copy of a painting by Landi. Signs a student September. Commissioned to decorate a new petition to have life models. building, presumably the theater, in the Villa Torlonia, Via Nomentana. 1829 April 25.Death of his father. 1844/1845Signs and dates two scenes in the theater of 1832 June 30.Marries Maria Covaluzzi, a widow, the Villa Torlonia.
    [Show full text]
  • Apotheosis of George Washington (Washington Becoming a God) Constantino Brumidi, Fresco, 1865, Rotunda
    Apotheosis of George Washington (Washington becoming a god) Constantino Brumidi, Fresco, 1865, Rotunda Suspended 180 feet above the Rotunda floor, the fresco covers an area of 4,664 square feet. The figures, up to 15 feet tall, were painted to be intelligible from close up as well as from 180 feet below. Brumidi depicted George Washington rising to the heavens in glory, flanked by female figures representing Liberty and Victory/Fame. A rainbow arches at his feet, and thirteen maidens symbolizing the original states flank the three central figures. (The word "apotheosis" in the title means literally the raising of a person to the rank of a god, or the glorification of a person as an ideal; George Washington was honored as a national icon in the nineteenth century. WAR- Armored Freedom, sword raised and cape flying, with a helmet and shield reminiscent of those on the Statue of Freedom, tramples Tyranny and Kingly Power; she is assisted by a fierce eagle carrying arrows and a thunderbolt. SCIENCE- Minerva, goddess of wisdom and the arts of civilization, with helmet and spear, points to an electric generator creating power stored in batteries, next to a printing press, while inventors Benjamin Franklin, Samuel F. B. Morse, and Robert Fulton watch. At the left, a teacher demonstrates the use of dividers. MARINE- Neptune, god of the sea, holding his trident and crowned with seaweed, rides in a shell chariot drawn by sea horses. Venus, goddess of love born from the sea, helps lay the transatlantic cable. In the background is a form of iron- clad ship with smokestacks.
    [Show full text]
  • The Death of "The Genius of the Capitol"--Constantino Brumidi Artist
    CHAPTER 12 Death of “the Genius of the Capitol” rumidi worked on Clark’s clerk), Amzi Smith the cartoons for the (Brumidi’s friend, who Bfrieze until he lost worked in the Senate Doc- consciousness the day before ument Room), and George he died. Although asthma F. W. Strieby (one of the had been his main com- painters who assisted him plaint, his death certificate at the Capitol).2 lists the cause of death as Later that year, Congress “chronic Bright’s Disease Fig. 12–2. Commemorative plaque in Glenwood Cemetery. paid the $500 still owed to and uremia,” that is, kidney Brumidi’s grave in the Germon family plot was marked in 1951 Brumidi for the canopy to failure.1 His death occurred through the efforts of Myrtle Cheney Murdock. his heirs Laurence and at 6:30 a.m. on February 19, Photo: Theodor Horydczac. Elena and gave $200 to 1880, at his home at 921 G Lola for funeral expenses. Street, N.W., a three-story brick house owned by his for- The authorizing bill was introduced by Senator Daniel mer wife, now Lola V. Walsh. His longtime friend Father Voorhees, who eulogized: Benedict Sestini, S.J., had been called to his deathbed by He who beautifies the pathway of life, who creates his son Laurence but did not reach him in time. images of loveliness for the human eye to rest upon, At the funeral, held the next day at his house and at- is a benefactor of the human race. He will be tended by many friends, the Catholic burial service was crowned by the gratitude of his own and of succeed- read by Rev.
    [Show full text]
  • The Apotheosis of George Washington: Constantino Brumidi's Homage to America
    1 May 3, 2018 CLAS 3115 The Apotheosis of George Washington: Constantino Brumidi's Homage to America The Apotheosis of George Washington (figure 1) is a decorative fresco completed in 1865 by Constantino Brumidi, located in the canopy of the dome of the Rotunda in the United States Capitol Building. The fresco measures 65 feet in diameter, 4,664 square feet total, and stands 180 feet from the floor of the Rotunda.1 Brumidi painted the Apotheosis as part of the expansion of the Capitol building initiated by Congress on September 30, 1850.2 In this paper, I will discuss the classical elements in the Apotheosis of George Washington, noting the similarities and differences between Brumidi's classical inspirations and his Capitol fresco. I will then explore the use of apotheosis imagery in 18th and 19th century Europe and America, in order to better understand Brumidi's choice of subject and how his fresco fit with contemporary honorific art. The Capitol expansion was based on the architectural designs of Philadelphia architect Thomas U. Walter, who was and appointed as the Architect of the Capitol by President Millard Filmore. However, ultimately, the project was completed by Captain Montgomery Meigs and the Army Corps of Engineers, to whom the responsibility for completion of the Capitol was transferred in 1853, at the request of Secretary of War Jefferson Davis. Meigs desired to have the US Captiol rival the elaborately designed churches and palaces of Europe. This competitive spirit fueled Meigs to hire someone trained in fresco, however no American artist had that skill or was 1 Architect of the Capitol, “Apotheosis of George Washington.” https://www.aoc.gov/art/other-paintings-and- murals/apotheosis-washington.
    [Show full text]
  • The Capitol Dome
    THE CAPITOL DOME INSIDE THIS ISSUE: Capitol Art History Painting The Bill of Rights Washington in 1801 A MAGAZINE OF HISTORY PUBLISHED BY THE UNITED STATES CAPITOL HISTORICAL SOCIETY VOLUME 53 , NUMBER 2 FALL 2016 FROM THE EDITOR’S DESK Every painting in the U.S. Capitol, just by virtue of its location, becomes a historical painting. But a “history painting” is something else entirely. And for much of the early history of the Republic, it represented the apex of the painter’s art. Portraiture paid the bills, but successful “Grand Manner” history painting was how any ambitious painter sought to win patronage and esteem. Sir Joshua Reynolds, the first president of the Royal Academy of Arts (1768), demanded that proper history painting be “poetic” by representing its subject in an idealized style. John Trumbull inherited that legacy and enshrined it in his series of history paintings about the American Revolutionary War. But while Trumbull’s four paintings in the Rotunda give him pride of place, others have been at work producing historical art in the Capitol—and of the Capitol. Three articles in the current issue of The Capitol Dome pay tribute to that evolv- ing tradition. Towering above Trumbull’s paintings—spatially, if not aesthetically—is the epic Frieze of American History. The third and fifteenth scenes in that cycle, by Constantino Brumidi and Filippo Costaggini respectively, fall under Matthew Restall’s microscopic analysis, which reveals how two separate conquests of Mexico, 400 years apart, were paired to serve the purpose of nation-building. Like Trumbull, William H.
    [Show full text]
  • The Capitol Dome
    Fig. 1A. Detail of carved relief with swan and rinceaux on the Ara Pacis, Rome. [credit] Photograph by author SPECIAL EDITION THE CAPITOL DOME CELEBRATING Constantino Brumidi’s Life and Art A MAGAZINE OF HISTORY PUBLISHED BY THE UNITED STATES CAPITOL HISTORICAL SOCIETY VOLUME 51 , NUMBER 1 SPRING 2014 The next special issue of The Capitol Dome will be devoted to the bicentennial of the War of 1812 and specifically the fate of the United States Capitol in 1814, when combined British naval and land forces captured Washington, DC and set fire to many public buildings. The mural (above) from the Hall of Capitols by Allyn Cox in the House wing of the Capitol illustrates the burning Capitol in the background. USCHS BOARD OF TRUSTEES Hon. Richard Baker, Ph.D. Hon. Kenneth E. Bentsen, Jr. Ken Bowling, Ph.D. Hon. Richard Burr Nicholas E. Calio UNITED STATES CAPITOL Donald G. Carlson ----------- Hon. E. Thomas Coleman HISTORICAL SOCIETY L. Neale Cosby Scott Cosby Nancy Dorn George C. “Bud” Garikes Bruce Heiman Hon. Richard Holwill Tim Keating Hon. Dirk Kempthorne Contents Hon. John B. Larson Jennifer LaTourette Rob Lively Tamera Luzzatto Tim Lynch Norm Ornstein, Ph.D. Beverly L. Perry David Regan Rome Brought to Washington in Brumidi’s Murals for the Cokie Roberts Hon. Ron Sarasin United States Capitol Mark Shields by Barbara Wolanin..................................................................2 Dontai Smalls William G. Sutton, CAE Tina Tate Hon. Ellen O’Kane Tauscher The American Artist as Scientist: Constantino Brumidi’s James A. Thurber, Ph.D. Hon. Pat Tiberi Fresco of Robert Fulton for the United States Capitol Connie Tipton by Thomas P.
    [Show full text]
  • Brumidi's Last Works
    CHAPTER 11 Brumidi’s Last Works he artist of the Capitol spent no pay for any work in the Capitol. most of the last fifteen years The next year he received five T of his life working on projects $2,000 payments for preparing full- started or designed two decades be- size cartoons for the fresco, and in fore. He also continued to under- 1864 he was paid a total of $6,000. take outside church and private He painted The Apotheosis of Wash- commissions (fig. 11–1). It is a ington in 1865, but was paid for common misconception, started in only half the year. He was paid for his obituaries and continued in later the second half in April 1866 and accounts, that he was “almost con- finally received the balance of Fig. 11–2. Brumidi at the end of his life. stantly at work upon the interior of $9,500 in June. This print, based on a photograph, shows Brumidi the Capitol” for twenty-five years; in with white hair and beard. Plate by C.M. Bell. Once the canopy was finished, actuality, his employment was not Architect of the Capitol. there was a long gap before Brumidi continuous.1 He worked most in- resumed working at the Capitol. tensely during his first ten years at the Capitol, when he de- Discouraged at not being allowed to complete several signed and began painting his most important rooms. He rooms in the Senate, he traveled to Cuba at the end of was on the payroll almost continuously from April 1855 1866, returning to Washington in May 1867 to work on through December 1861, with gaps as long as several the Senate Post Office (S–211).
    [Show full text]
  • The Analysis of Three Wall Paintings by Constantino Brumidi in the United States Capitol: a Case Study Catherine Sterling Myers University of Pennsylvania
    University of Pennsylvania ScholarlyCommons Theses (Historic Preservation) Graduate Program in Historic Preservation 1992 A Technical Investigation of Painting Medium: The Analysis of Three Wall Paintings by Constantino Brumidi in the United States Capitol: A Case Study Catherine Sterling Myers University of Pennsylvania Follow this and additional works at: http://repository.upenn.edu/hp_theses Part of the Historic Preservation and Conservation Commons Myers, Catherine Sterling, "A Technical Investigation of Painting Medium: The Analysis of Three Wall Paintings by Constantino Brumidi in the United States Capitol: A Case Study" (1992). Theses (Historic Preservation). 260. http://repository.upenn.edu/hp_theses/260 Copyright note: Penn School of Design permits distribution and display of this student work by University of Pennsylvania Libraries. Suggested Citation: Myers, Catherine Sterling (1992). A Technical Investigation of Painting Medium: The Analysis of Three Wall Paintings by Constantino Brumidi in the United States Capitol: A Case Study. (Masters Thesis). University of Pennsylvania, Philadelphia, PA. This paper is posted at ScholarlyCommons. http://repository.upenn.edu/hp_theses/260 For more information, please contact [email protected]. A Technical Investigation of Painting Medium: The Analysis of Three Wall Paintings by Constantino Brumidi in the United States Capitol: A Case Study Disciplines Historic Preservation and Conservation Comments Copyright note: Penn School of Design permits distribution and display of this student work by University of Pennsylvania Libraries. Suggested Citation: Myers, Catherine Sterling (1992). A Technical Investigation of Painting Medium: The Analysis of Three Wall Paintings by Constantino Brumidi in the United States Capitol: A Case Study. (Masters Thesis). University of Pennsylvania, Philadelphia, PA. This thesis or dissertation is available at ScholarlyCommons: http://repository.upenn.edu/hp_theses/260 UNivERsmy PENNSYLVANIA.
    [Show full text]
  • Constantino Brumidi, Artist of the Capitol
    Celebrate BRUMIDI Artist of the Capitol CONSTANTINO BRUMIDI is known for the murals he painted in the United States Capitol over a 25-year period. The Apotheosis of Washington in the Rotunda under the Capitol Dome was Brumidi’s most ambitious work. Congress authorized a posthumous Congressional Gold Medal in his honor that is on display in the U.S. Capitol Visitor Center’s Exhibition Hall. Brumidi’s Life and Painting Techniques onstantino Brumidi Brumidi worked intensively at the Capitol through 1860. He (1805–1880) is primarily designed and executed murals for the Hall of the House of known for the murals Representatives, office and committee spaces in the House Che painted in the United States and Senate extensions, and the Senate first-floor corridors. Capitol over a 25-year period. He spent years designing and painting the canopy fresco, His artistic vision was based on completed in 1865, and then periodically was hired to the wall paintings of ancient complete murals he had started or designed earlier. Rome and Pompeii and on the classical revivals that occurred in the Italian Renaissance, In murals throughout the building Brumidi the Baroque period, and the combined classical and allegorical subjects with portraits early 19th century. and scenes from American history and tributes to Born in Rome, Brumidi was This 1859 photograph, taken by American values and inventions. trained at the Academy of Montgomery Meigs, captures St. Luke in the full range of Brumidi’s lively personality. painting mediums, including Brumidi directed and worked with crews of painters and true fresco, painted in sections on fresh plaster, and sculpture.
    [Show full text]
  • Rediscovering the Art of Constantino Brumidi / Compiled by Amy Elizabeth Burton
    To RediscoveringMake the ArtBeautiful of Constantino Brumidi the Capitol To RediscoveringMake the ArtBeautiful of Constantino Brumidi the Capitol To RediscoveringMake the ArtBeautiful of Constantino Brumidi the Capitol Compiled by Amy Elizabeth Burton Prepared under the direction of the U.S. Senate Commission on Art U.S. GOVERNMENT PRINTING OFFICE WASHINGTON, D.C. : 2014 113th Congress, 2nd Session S. Pub 113–10 Printed pursuant to 2 USC 2102(a) U.S. Senate Commission on Art Chairman: Harry Reid, Nevada Vice Chairman: Mitch McConnell, Kentucky Patrick J. Leahy, Vermont Charles E. Schumer, New York Pat Roberts, Kansas Executive Secretary: Nancy Erickson Curator: Diane K. Skvarla Works of art illustrated are by Constantino Brumidi unless otherwise noted. Illustrations are from the records of the Office of Senate Curator except where other collection or photography credits are provided. Principal photography by James Rosenthal, courtesy of the Architect of the Capitol. Photography credits appear on pages 130–31. Images have been used with the consent of their respective owners. Printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data To make beautiful the Capitol : rediscovering the art of Constantino Brumidi / compiled by Amy Elizabeth Burton. – – 1st [edition]. pages cm Includes bibliographical references. “Prepared under the direction of the U.S. Senate Commission on Art.” 1. Brumidi, Constantino, 1805–1880––Criticism and interpretation. 2. United States Capitol (Washington, D.C.) 3. Mural painting and decoration, American––Washington (D.C.)––19th century. 4. Mural painting and decoration–– Conservation and restoration––Washington (D.C.) I. Burton, Amy Elizabeth. II. Cunningham–Adams, Christiana.
    [Show full text]