Thomas Jefferson (1743–1826)
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A Finding Aid to the Henry Mosler Papers, 1856-1929, in the Archives of American Art
A Finding Aid to the Henry Mosler Papers, 1856-1929, in the Archives of American Art Stephanie Ashley Funding for the processing and digitization of this collection was provided by the Joseph F. McCrindle Foundation and the Terra Foundation for American Art. May 02, 2012 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical Note............................................................................................................. 2 Scope and Content Note................................................................................................. 2 Arrangement..................................................................................................................... 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Biographical Materials, 1863-1892, 1921................................................. 5 Series 2: Letters, 1861-circa 1920........................................................................... 6 Series 3: -
SULLY, THOMAS Date
Docent Handbook - Artist Fact Sheet Artist Name: SULLY, THOMAS Date: 1783-1872 Nationality: American, born English Title/Date: The Student (Rosalie Kemble Sully), 1848 Size: 30 ½ x 26 ¼ inches Medium: Oil on canvas Gallery Location: 4th Floor, Gallery 2 Salient Characteristics of this Work: - Portrait of the artist’s daughter, Rosalie Kemble Sully (1818-1847) - Rosalie was also an artist, a painter of miniatures, having been tutored by her father - Began on November 5th, 1848 and completed on December 18th, according to Sully’s record book - Three portraits of Rosalie as a student exist, another version completed in 1937, before her death at age 29 - Seated, resting figure with crossed hands on portfolio, holding pencil; lampshade casts shadow over face; elongated neck is characteristic of the romantic style Information Narrative: - 1783, born to actors in Horncastle, Lincolnshire, England - 1792, emigrated to the U.S. with his family and settled in Charleston, South Carolina - 1799, moved to Virginia to live with his older brother Lawrence, a painter of miniatures - 1804, Lawrence died and Sully took up the care of his brother’s widow, Sarah, and three young children - 1806, married Sarah and moved to New York because marriage to a brother’s widow was illegal in Virginia - 1807, moved with Sarah to Philadelphia - 1809, became an American citizen and then departed for England to study painting for about nine months with Benjamin West - 1812, elected to honorary membership to the Pennsylvania Academy of Fine Art; served on its board from -
Washington, D. C. June 1, 1967. the National Gallery Today Announced It
SIXTH STREET AT CONSTITUTION AVENUE NW WASHINGTON DC 20565 • 737-4215 extension 224 Washington, D. C. June 1, 1967. The National Gallery today announced it will lend 17 American paintings, including the work of Gilbert Stuart, Winslow Homer, and Rembrandt Peale, to the Mint Museum of Art in Charlotte for the inauguration of its new building this fall. John Walker, Director of the National Gallery said the paintings will be on view from September 15 to October 27. He called the opening of the new Mint Museum building a significant event for Charlotte and the Carolinas. Of foremost interest in the exhibition is Gilbert Stuart's portrait of Richard Yates. from the Andrew Mellon Collection, - 2 - and the colorful Allies Day, May 1917 by Childe Hassam. The Yates portrait was finished soon after Stuart returned from Dublin to begin his famous series of George Washington portraits. The Rembrandt Peale painting is of the artist's friend, Thomas Sully, an important American portraitist who was raised in South Carolina. The Winslow Homer painting shows a small boat being beached at sunset. In addition to six primitive American paintings by unknown 18th and 19th century limners, the exhibition will include the work of John James Audubon, Robert Henri, Charles Hofmann, Ammi Phillips, Jeremiah Theus, Ralph E. W. Earl, and Joseph Badger. Director Walker observed that the pictures "share the common value of presenting America as interpreted by artists in their own time." He also noted that a good many of the painters repre sented in the collection lived or worked in the South. -
A Catalogue of the Collection of American Paintings in the Corcoran Gallery of Art
A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art VOLUME I THE CORCORAN GALLERY OF ART WASHINGTON, D.C. A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art Volume 1 PAINTERS BORN BEFORE 1850 THE CORCORAN GALLERY OF ART WASHINGTON, D.C Copyright © 1966 By The Corcoran Gallery of Art, Washington, D.C. 20006 The Board of Trustees of The Corcoran Gallery of Art George E. Hamilton, Jr., President Robert V. Fleming Charles C. Glover, Jr. Corcoran Thorn, Jr. Katherine Morris Hall Frederick M. Bradley David E. Finley Gordon Gray David Lloyd Kreeger William Wilson Corcoran 69.1 A cknowledgments While the need for a catalogue of the collection has been apparent for some time, the preparation of this publication did not actually begin until June, 1965. Since that time a great many individuals and institutions have assisted in com- pleting the information contained herein. It is impossible to mention each indi- vidual and institution who has contributed to this project. But we take particular pleasure in recording our indebtedness to the staffs of the following institutions for their invaluable assistance: The Frick Art Reference Library, The District of Columbia Public Library, The Library of the National Gallery of Art, The Prints and Photographs Division, The Library of Congress. For assistance with particular research problems, and in compiling biographi- cal information on many of the artists included in this volume, special thanks are due to Mrs. Philip W. Amram, Miss Nancy Berman, Mrs. Christopher Bever, Mrs. Carter Burns, Professor Francis W. -
John James Audubon American Naturalist
John James Audubon American Naturalist The life and work of John James Audubon Education Resource John James Audubon Collection Louisiana’s Old State Capitol Museum of Political History Secretary of State Tom Schedler www.sos.la.gov / www.GeauxVote.com Page 2 John James Audubon, American Naturalist The life and work of John James Audubon This K-12 thematic unit examines the life and work of John James Audubon This publication is developed and produced by the Secretary of State’s Museum Division Education Department Contact Information Louisiana’s Old State Capitol Museum of Political History 100 North Blvd. Baton Rouge, LA 70801 225.342.0500 www.sos.la.gov/osc 2005 Revised 2009 Secretary of State Tom Schedler www.sos.la.gov www.GeauxVote.com Page i John James Audubon, American Naturalist The life and work of John James Audubon This K-12 instructional unit examines the life and work of John James Audubon Table of Contents EDUCATOR NOTES ........................................................................................................................................................ 1 JOHN JAMES AUDUBON, AMERICAN NATURALIST ....................................................................................................... 2 EARLY LIFE .......................................................................................................................................................................... 2 SELF-TAUGHT ARTIST AND SCIENTIST ...................................................................................................................................... -
Paintings and Frescoes
CHAPTER XXI PAINTINGS AND FRESCOES EFORE the commencement of the Capitol extension, the large Westward the Course of Empire takes its Way [Plate 302], by paintings for the panels in the Rotunda were completed, with Emmanuel Leutze, a German artist of prominence, was ordered by one exception. Henry Inman, one of the four artists with General Meigs July 9, 1861, and completed in 1862. The representation whom contracts were made for the historical panels, died of pioneers with their wagons and camping outfits, the mountain BJanuary 17, 1846, without having commenced the painting, although scenery, and Daniel Boone, always attracts the attention of visitors. The he had received $6,000 on account for the work. March 3, 1847, a method of applying the paint to the wall adopted in this painting has contract was made with W. H. Powell to paint the vacant panel. It was been used only in this one instance in the Capitol. The basis is a thin not placed in the Rotunda until 1855. This panel, The Discovery of the layer of cement of powdered marble, quartz, dolomite, and air-worn Mississippi [Plate 299], is intended to depict De Soto and his small lime. The water colors are applied on this cement and fixed by a spray band of followers, the first Caucasians to see our mighty Mississippi. It of water-glass solution. By the method employed it is much easier to is a spirited composition, in no sense realistic, idealizing both make corrections in the painting than with ordinary fresco work. Spaniards and Indians. The Battle on Lake Erie [Plate 301], by W. -
Religious Liberty (1876) and the Nineteenth‐Century Jewish American Experience Samantha Baskind
1 Moses Jacob Ezekiel’s Religious Liberty (1876) and the Nineteenth‐Century Jewish American Experience Samantha Baskind Sculptor Moses Jacob Ezekiel (1844–1917) was the first Jewish American artist to earn international acclaim. Despite his occasional discouragement due to lack of patronage, Ezekiel persevered because, as he wrote in his autobiography, Memoirs from the Baths of Diocletian: “The race to which I belong had been oppressed and looked down upon through so many ages, I felt that I had a mission to perform. That mission was to show that, as the only Jew born in America up to that time who had dedicated himself to sculpture, I owed it to myself to succeed in doing something worthy in spite of all the difficulties and trials to which I was subjected” (281). His best‐known work is a com- mission from the Jewish fraternal organization, B’nai B’rith: a freestanding marble group from 1876 depicting Religious Liberty (Figure 1.1). Ezekiel’s unique Jewish experience imbues this sculpture with elements of both his Southern and religious roots, shaped by his proximity to one of the most radical and influential rabbis in America, Isaac Mayer Wise. While Ezekiel’s Religious Liberty is fully “American” in theme, the artist also subtly addressed alternate, “Jewish” tensions beyond his celebra- tion of religious liberties in his homeland. Indeed, Religious Liberty alludes to an essen- tial contemporary concern of both Ezekiel and many of his nineteenth‐century coreligionists: fear of assimilation amid temptations confronted because of the very freedoms they were enjoying. Ezekiel’s American background differed substantially from his peers—not only the few other known nineteenth‐centuryCOPYRIGHTED Jewish American MATERIAL artists, but also the general Jewish population of his day, primarily immigrants. -
Art Masterpiece: the Torn Hat (1820), by Thomas Sully
Art Masterpiece: The Torn Hat (1820), by Thomas Sully Keywords: Portrait, Self-portrait and Miniature Grade: 1st-3rd Grade Activity: Self-portrait Meet the Artist: Thomas Sully was born in England but lived in America. (1783-1872). The son of actors Matthew Sully and Sarah Chester, Thomas Sully was born at Horncastle, England, in 1783. The family immigrated to Richmond, Virginia, in 1792 and two years later settled in Charleston, South Carolina. He was famous for painting portraits. A portrait is a picture or a sculpture of a person. One of his most famous paintings is of George Washington crossing the Delaware River. He painting a few of our founding fathers, and was commissioned to paint a full-length portrait of Queen Victoria just a few months after she had ascended the throne! Sully was also one of the founding members of The Musical Fund Society where he painted the portraits of many of the famous musicians and composers. He was also known for painting miniatures. Details were very important to Sully. He looked very carefully at the world around him and really studied faces before he painted them. Sully tried to make people look honest and loving, as well as handsome and beautiful. Definitions: Portrait: Any work of art showing a person, several people on an animal. Portraits usually emphasize just the face. Self-portrait: A portrait the artist makes of himself. Miniature: A miniature is a tiny painting that can be worn in a locket (necklace) or displayed on a stand. P.S.2013-2014 Meet the Art: The Torn hat is a portrait. -
Register of Portraits Painted by Thomas Sully 1801-1871
R EG I ST E R O F P O RT RA I TS PA INT ED BY T HOMA S SULLY 1 80 1 - 1 87 1 ARRAN GED AN D EDI T ED WI T H AN I N T RO D UC TI ON AN D NO T ES By C H ARLES H EN RY HA RT PH I LAD ELPH IA M DCCCCI X ON E HUND RED AN D CO P IES PRINT ED COPY R GH ED 1 0 8 BY CH RLES H E RY H R I T , 9 , A N A T T O MY W IFE MA RI ANNE LIV IN GST ON H A RT I D ED I C AT E T H IS V OLU ME I N A P PRECIATION OF H ER PA IN STA KING A SSISTA NCE I N TR A N SC RIBING TH E ENTIR E R EGIST ER A N D A R R AN GIN G T HE ENTRI ES I N A P BE A SE E E FOR M Y USE L H A TIC L QU NC , M A K I T B A B E THUS ING S PU LIC TION PO SSI L . LI ST OF I L L U ST RAT I ON S P AGE I . P OR R I OF THOM S SULLY E T . 77 F ron tis iece T A T A , p I I P OR R I OF THOM SULLY EDT. 3 8 . T A T AS , I I I F A JSI MI L E OF P GE OF OR G L R E G E R THOM . -
The Thonas Jefferson Bicentennial Exhibition, Commemorating the Two-Hundredth Anniversary of His Birth, Will Be Open to the Publ
NATIONAL GALLERY OF ART FOR RELEASE WASHINGTON, D. G. SUNDAY, APRIL 18, 1943 The Thonas Jefferson Bicentennial Exhibition, commemorating the two-hundredth anniversary of his birth, will be open to the public at the National Gallery of Art, Washington, D. C., from April 13, through Hay 15, 1943. Displayed here are numerous portraits of Thomas Jefferson, as he appeared to his contemporaries during his long and varied career. The Exhibition begins with an early likeness, painted by Mather Brown in London in 1786, for John Adans, (lent by Mr. Charles Francis Adans); passes to a brilliant portrait by Rembrandt Peale, (lent by Lieutenant Lawrence Goolidge), which shows Jefferson at the height of his power about 1805; proceeds to Thomas Sully's preliminary sketch done in 1821, (lent by Hr. John Hill Ilorgan) , for the well-known, full-length portrait executed for the United States Military Academy at West Point; and ends with the bronze oast of Browere's startlingly realistic life nask of the aged statesman and sage of Hoiiticello as he appeared less than a year before his death, in 1826. Of particular interest is the superb portrait by Gilbert gituart, once owned by Jefferson, and known as the "Edgehill Portrait" (lent by llr. and llrs. Percy S. Straus), painted in 1805. This portrait was retained by the artist until 1821, and is believed to be the original from which his subsequent replicas were made. There are two miniatures by John Trunbull, which differ slightly from the final portrait of Jefferson used in the familiar "Declaration of Independence", and a large, full-length portrait by Caleb Boyle, (lent anonymously), painted in 1881. -
From Painting by Thomas Sully
THOMAS CADWALADER. From painting by Thomas Sully. i ScC. page 283.) The Second Troop Philadelphia City Cavalry. 283 THE SECOND TROOP PHILADELPHIA CITY CAVALRY. By W. A. NEWMAN DORLAND, A.M., M.D., F.A.C.S. Major, Medical Corps, U. S. Army; formerly First Lieutenant and Surgeon of the Troop (April 1, 1898-November 10, 1903.) [For references see pages 286, 287.] (Continued from Vol. LII, page 380.) CHAPTER XX. CAPTAIN THOMAS CADWALADER.618 Thomas Cadwalader, son of Brig. General John Cadwalader (born in Philadelphia, January 10, 1742; died in Shrewsbury, Pa., February 10, 1786) and Williamina (born in 1752; died in London, September 9, 1837), daughter of Dr. Phineas Bond (born in 1717; died on Friday, June 11, 1773, in his 56th year); was born in Philadelphia on October 28, 1779. He entered the University of Pennsylvania in 1792, from which Institution he graduated with the degree of Bachelor of Arts in 1795. He then took up the study of law and, in 1801, was admitted to the Philadelphia bar. In April, 1799, while a private in the Second City Troop he was one of sixteen who captured the ring-leader in Fries' Eebellion (See Chapter XIII). While still con- nected with the Troop and a student of the law Mr. Cadwalader applied for a commission in the army which it was proposed to raise in the threatened war with France at the close of the eighteenth century, but as the army was not required the commission was not granted. This notwithstanding that General Wash- ington, from his retirement at Mount Vernon accepted the command of the army, and for this purpose had come to Philadelphia. -
What Does Religious Liberty Look Like?
Teacher Guide 7th – 11th Grade What does Religious Liberty Look Like? Discovering American Jewish History Through Objects On a cold and wintry Thanksgiving Day, November 30, 1876, Jewish and gentile dignitaries gathered on the grounds of the 1876 Centennial Exposition, held in Philadelphia, to witness the unveiling of a new monument to religious liberty. Commissioned by the national Jewish fraternal organization B’nai B’rith, the neoclassical sculpture was dedicated “to the people of the United States.” Among those who spoke at the ceremony that day was the sculptor who had carved the statue in Italy, Moses Jacob Ezekiel. Ezekiel was a Civil War veteran who fought for the South, and the first Jewish sculptor to achieve international renown. The sculpture’s origins date to the January 1874 Convention of the Independent Order of B’nai B’rith, which unanimously approved commissioning a statue to be displayed at the 1876 Centennial Exposition. The exposition brought ten million visitors to Philadelphia between May and November of 1876, but delivery delays resulted in the statue’s unveiling three weeks after the exposition closed. Religious Liberty, as the sculpture is called, is an allegorical work in which each figure symbolizes an abstract concept. The main figure represents liberty, and she holds her right arm protectively over a young child who represents religious faith by reaching toward the heavens and holding a burning lamp in his hands. An eagle at the base of the statue crushes a serpent and looks to the horizon, suggesting America’s continuing struggle against intolerance. In 1986 the monument moved from Philadelphia’s Fairmount Park to the grounds of the National Museum of American Jewish History on Independence Mall.