Three Centuries of American Painting
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"Amiable" Children of John and Sarah Livingston Jay by Louise V
The "Amiable" Children of John and Sarah Livingston Jay by Louise V. North © Columbia's Legacy: Friends and Enemies in the New Nation Conference at Columbia University and The New-York Historical Society, Dec. 10, 2004 Sarah Jay wrote her husband [Oct. 1801]: "I have been rendered very happy by the company of our dear children . I often, I shd. say daily, bless God for giving us such amiable Children. May they long be preserved a blessing to us & to the community." Who were these 'amiable' children, and what were they like? The happy marriage of John and Sarah Jay produced six children: Peter Augustus, born in Elizabeth, New Jersey, in 1776; Susan, born and died in Madrid after only a few weeks of life, in 1780; Maria, born in Madrid in 1782; Ann, born in Paris in 1783, William and Sarah Louisa, born in NYC in 1789 and 1792 respectively. As you can see by the birthplaces of these children, their parents played active parts on the stage of independence, doing what needed to be done, wherever it needed to be done, at the end of a colonial era and the birth of a new nation. John Jay held a greater variety of posts than any other Founding Father, posts he insisted he did not seek but felt it his duty to his country to assume. Sarah Livingston Jay, brought up in a political household, was a strong support to her husband, astutely networking with the movers and shakers of the time (as a look at her Invitation Lists of 1787–1788 shows). -
The Clarkson Family Of
The Clarkson Family of Potsdam By Margurite Gurley Chapman POTSDAM, NEW YORK i958 f oPewoPd To the Reader: I have written this brief story of the Clarksons in Potsdam and their fore-bears in hopes it will answer some of the questions in your mind concerning the family. I suggest that the reader consult the accompanying geneology frequently as the names are often repeated and it is a problem to keep the various Davids, Matthews, Levinuses, Elizabeths and Ann Marys straight. It will help clarify the different families and their relationships. If you follow the spaces from left to right, you will be able to tell which Clarksons were in the same generation, which ones were brothers or whether they were cousins. I am indebted to Clarkson College for their cooperation in loan ing me material and pictures, to Mrs. Frederick Ramsdell for ma terial she obtained for me, to Mrs. Lloyd Keller, curator of the Potsdam Public Museum, for books and loans. My one regret is that more material is not available, but what there is, I hope you will find interesting. Marguerite Gurley Chapman June, 1958. "Holcroft'' as it was built by John C. Clarkson in 1821-2., before the mansard roof was added. This was copied from a picture on the edge of a map of Potsdam dated 1853. 'Property of L. Clarkson.' "Hofcroft11 as it appeors today with the mansard roof which was added at somet!me after 1853 by T. Streatfeild Clarkson. Residence of David L. Clarkson which was built about 1836. It is now the Merritt Apartmenfs, Leroy Street. -
Catalogue of a Loan Exhibition of Paintings by Winslow Homer : New
THE METROPOLITAN MUSEUM OF ART WINSLOW HOMER MEMORIAL EXHIBITION MCMXI CATALOGUE OF A LOAN EXHIBITION OF PAINTINGS BY WINSLOW HOMER OF THIS CATALOGUE AN EDITION OF 2^00 COPIES WAS PRINTED FEBRUARY, I 9 I I Digitized by the Internet Archive in 2015 https://archive.org/details/catalogueofloaneOOhome FISHING BOATS OFF SCARBOROUGH BY WINSLOW HOMER LENT BY ALEXANDER W. DRAKE THE METROPOLITAN MUSEUM OF ART CATALOGUE OF A LOAN EXHIBITION OF PAINTINGS BY WINSLOW HOMER NEW YORK FEBRUARY THE SIXTH TO MARCH THE NINETEENTH MCMXI COPYRIGHT, FEBRUARY, I 9 I I BY THE METROPOLITAN MUSEUM OF ART LIST OF LENDERS National Gallery of Art Pennsylvania Academy of the Fine Arts The Lotos Club Edward D. Adams Alexander W. Drake Louis Ettlinger Richard H. Ewart Hamilton Field Charles L. Freer Charles W. Gould George A. Hearn Charles S. Homer Alexander C. Humphreys John G. Johnson Burton Mansfield Randall Morgan H. K. Pomroy Mrs. H. W. Rogers Lewis A. Stimson Edward T. Stotesbury Samuel Untermyer Mrs. Lawson Valentine W. A. White COMMITTEE ON ARRANGEMENTS John W. Alexander, Chairman Edwin H. Blashfield Bryson Burroughs William M. Chase Kenyon Cox Thomas W. Dewing Daniel C. French Charles W. Gould George A. Hearn Charles S. Homer Samuel Isham Roland F. Knoedler Will H. Low Francis D. Millet Edward Robinson J. Alden Weir : TABLE OF CONTENTS Page Frontispiece, Opposite Title-Page List of Lenders . Committee on Arrangements . viii Table of Contents .... ix Winslow Homer xi Paintings in Public Museums . xxi Bibliography ...... xxiii Catalogue Oil Paintings 3 Water Colors . • 2 7 Index ......... • 49 WINSLOW HOMER WINSLOW HOMER INSLOW HOMER was born in Boston, February 24, 1836. -
Oriskany:Aplace of Great Sadness Amohawk Valley Battelfield Ethnography
National Park Service U.S. Department of the Interior Ethnography Program Northeast Region ORISKANY:APLACE OF GREAT SADNESS AMOHAWK VALLEY BATTELFIELD ETHNOGRAPHY FORT STANWIX NATIONAL MONUMENT SPECIAL ETHNOGRAPHIC REPORT ORISKANY: A PLACE OF GREAT SADNESS A Mohawk Valley Battlefield Ethnography by Joy Bilharz, Ph.D. With assistance from Trish Rae Fort Stanwix National Monument Special Ethnographic Report Northeast Region Ethnography Program National Park Service Boston, MA February 2009 The title of this report was provided by a Mohawk elder during an interview conducted for this project. It is used because it so eloquently summarizes the feelings of all the Indians consulted. Cover Photo: View of Oriskany Battlefield with the 1884 monument to the rebels and their allies. 1996. Photograph by Joy Bilharz. ExEcuTivE SuMMARy The Mohawk Valley Battlefield Ethnography Project was designed to document the relationships between contemporary Indian peoples and the events that occurred in central New York during the mid to late eighteenth century. The particular focus was Fort Stanwix, located near the Oneida Carry, which linked the Mohawk and St. Lawrence Rivers via Wood Creek, and the Oriskany Battlefield. Because of its strategic location, Fort Stanwix was the site of several critical treaties between the British and the Iroquois and, following the American Revolution, between the latter and the United States. This region was the homeland of the Six Nations of the Iroquois Confederacy whose neutrality or military support was desired by both the British and the rebels during the Revolution. The Battle of Oriskany, 6 August 1777, occurred as the Tryon County militia, aided by Oneida warriors, was marching to relieve the British siege of Ft. -
The Domestication of History in American Art: 1848-1876
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1998 The domestication of history in American art: 1848-1876 Jochen Wierich College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Studies Commons, History of Art, Architecture, and Archaeology Commons, and the United States History Commons Recommended Citation Wierich, Jochen, "The domestication of history in American art: 1848-1876" (1998). Dissertations, Theses, and Masters Projects. Paper 1539623945. https://dx.doi.org/doi:10.21220/s2-qc92-2y94 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
Disease and Social Disruption
Disease and Social Disruption 2 Connect-the-Dots: Making Meaning from Historical Evidence Chris Edwards 5 Yellow Fever in Philadelphia, 1793 (Book Review) Sandra W. Moss 9 World War I Posters: Thinking Critically about History and the Media Tom Carty 16 On the Trail of an Epidemic: Yellow Fever in New Orleans, 1845-1860 Supplement to National Council for the Social Studies Publications Number 31 January/February 2008 www.socialstudies.org Middle Level Learning 31, pp. M2–M4 ©2008 National Council for the Social Studies On the Cover: Nurse wearing a mask as Connect-the-Dots: protection against influ- enza. September 13, 1918. In October of 1918, Congress approved a Making Meaning from $1 million budget for the U. S. Public Health Service to recruit 1,000 medical doctors and Historical Evidence over 700 registered nurses. Nurses were scarce, as their proximity to and interaction with the disease increased the risk of death. Chris Edwards Source: National Archives, “The Deadly Virus: The Influenza Epidemic of 1918,” www.archives.gov/ exhibits/influenza-epidemic/ (Western Newspaper Union). It is often lamented that exciting historical scholarship rarely trickles into the In the case of Pizarro’s conquest of the secondary classroom. I define my job as an eighth grade history teacher as being a Inca’s, I present five dots in this order: bridge between historical scholars and my students. For example, I believe that part of my work is to read a Pulitzer-winning book like Jared Diamond’s Guns, Germs, • Several species of large animals and Steel: The Fates of Human Societies and make its basic insights accessible to were domesticated in Europe, Asia, middle school students, to show how Diamond’s thesis connects to aspects of history and Africa, providing humans with covered in the curriculum.1 I call what I do “the connect-the-dots method,” and the mechanical power and food. -
American Panorama 150 Years of American History 1730 to 1880
CATALOGUE THREE HUNDRED SIXTY-FIVE American Panorama 150 Years of American History 1730 to 1880 WILLIAM REESE COMPANY 409 Temple Street New Haven, CT 06511 (203) 789-8081 A Note This catalogue, presented chronologically, includes 150 items spanning 150 years of American history, from 1730 to 1880. Comprised of books, pamphlets, manu- scripts, prints, maps, and photographs, one item has been selected for each year, helping to tell the multifaceted story of the development of the area that became the United States. Beginning with Herman Moll’s famous “Beaver Map” of the British colonies in America and concluding with an appeal to aid destitute African- American women and children in the post-Reconstruction era, the broad sweep of the American experience over a century and a half is represented. Included are works on politics, colonial development, law, military and diplomatic affairs, travel and exploration, sermons, westward expansion, contemporary historical accounts, scientific studies, improvements in technology and agriculture, images of urban and country life, and items relating to African-Americans (enslaved and free) and Native American tribes. In all, a panoramic view of 150 years of American history. Available on request or via our website are our bulletins as well as recent catalogues 361 Western Americana, 362 Recent Acquisitions in Americana, and 363 Still Cold: Travels & Explorations in the Frozen Regions of the Earth. E-lists, only available on our website, cover a broad range of topics including theatre, education, mail, the Transcontinental Railroad, satire, and abolition. A portion of our stock may be viewed on our website as well. Terms Material herein is offered subject to prior sale. -
Catskills Composition by Thomas Cole Natalia Bosko
The International Journal of Social Sciences and Humanities Invention 5(01): 4281-4292 2018 DOI: 10.18535/ijsshi/v5i1.08 ICV 2015: 45.28 ISSN: 2349-2031 © 2018, THEIJSSHI Research Article Catskills Composition by Thomas Cole Natalia Bosko The popularity of landscape painting in the United States grew during the 1830s due to the interest in exploration of native resources. American wilderness became a symbol of this country counterposed to the tamed nature of the Old World. Transcendentalist writings propagating the concept of divine presence in the creation supported the fashion for scenery. Ralph W. Emerson and Henry D. Thoreau popularized meditation in landscape as a method of spiritual purification. “In the woods […] my head bathed by the blithe air, and uplifted into infinite space,” wrote Emerson in his famous essay Nature, “the currents of the Universal Being circulate through me….”1 The Transcendentalists perceived air as an expression of divinity according to the concept rooted in German philosophy and British Romantic poetry. William Wordsworth described this notion as “the living Air” in his Figure 1. Thomas Cole, Sunset, View on the Catskill, 1833. Oil poem “Lines, Composed a Few Miles above Tintern Abbey.”2 on wood panel, 41.9 x 62.2 cm (16 1/2 x 24 1/2 in.). New- These cultural trends influenced the depiction of scenery in the York Historical Society, New York. Gift of The New-York oeuvre of coeval American artists. Early critic Charles Gallery of the Fine Arts. Courtesy of New-York Historical Buchanan wrote that light and air were innate for American Society, New York. -
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. -
Due to Copyright Restrictions, This Image Is Only Available in the Print Version of Christian Reflection
50 Caring for Creation Due to copyright restrictions, this image is only available in the print version of Christian Reflection. Thomas Cole’s The Oxbow depicts humans living in such harmony with nature that their habitation blends into the beautiful surroundings. Thomas Cole (1801-1848), THE OXB O W (O R , VIEW FR O M MO UN T HO LY O KE , NO R T HAMP to N , MASSA - CHUSE tt S , AF T ER A THUNDERS to RM ) (1836). Oil on canvas. 51 ½” x 76”. Gift of Mrs. Russell Sage, 1908. The Metropolitan Museum of Art, New York, NY. Photo: © The Metropolitan Museum of Art / Art Resource, NY. Used by permission. Caring for Creation in Art 51 In Harmony with Nature BY HEIDI J. HORNIK he Oxbow takes its name from the shape of the Connecticut River as it winds back on itself below Mount Holyoke in western Massachusetts.1 TThomas Cole’s painting depicts this wonder of nature, which in its pure size and beauty, literally and figuratively, dwarfs the artist who looks up at us from his canvas (positioned a few yards to the left of the parasol) within the painting. The foreground is wilderness, with trees that have blown over from the wind or from the storm on the left side of the composi- tion that shows a downpour of rain. Looking closely at the valley in the dis- tance, one realizes that the land is cultivated and a human settlement exists. Yet those fields and buildings are so trivial in comparison to the rest of the landscape that they go almost undetected. -
Pension Application for Esbon Gregory S.29189 State of New York Chautauque County SS
Pension Application for Esbon Gregory S.29189 State of New York Chautauque County SS. On this twelfth day of February in the year of our Lord one thousand eight hundred & thirty three personally appeared in open court before the Court of Common Pleas of the county of Chautauque [Chautauqua] & State of New York the same being a Court of record & having a seal & a Clerk, now sitting Esbon Gregory (1) a resident of the Town of Hanover in the County of Chautauque & State of New York, aged Seventy two years the 29th day of January last, who being first duly sworn, according to Law, doth on his oath make the following declaration in order to obtain the benefit of the act of Congress passed June 7, 1832. That he entered the service of the United States under the following named officers & served as herein stated, viz: That he volunteered into the Company of Captain Amariah Babbit, (2) of the Town of Lanesborough or New Ashford, Berkshire County, State of Massachusetts, in the Regiment of Colonel Benjamin Symonds, of Williamstown, County & State aforesaid & did service & was wounded at the battle of Bennington (3) under Genl. Stark (4), Commander—on or about the 17th August 1777— That immediately after the battle of Bennington, he was transfered [transferred] to, or volunteered into the company commanded by Capt’n. Herrick (5) a noted Ranger—Col’n. Seth Warners Regt (6) of Bennington, Vermont. That he remained in the service under Capt’n Herrick, until the surrender of Genl Burgoyne (7), on the 17th day of October, 1777— That after the surrender he left Capt’n Herricks Company, & was appointed one of the Guard to attend the British Army to Boston— That when they arrived at North Hampton, Hampshire County, State of Massachusetts, he returned & went to driving team, for the Continental Army, & continued in that service, till May or June, 1778. -
Remember the Ladies: Women of the Hudson River School
Remember the Ladies d women of the hudson river school Charlotte Buell Coman (1833–1924) frontispiece: Forest Brook, 1895 Oil on canvas, 24 x 20 in. Private Collection Remember the Ladies d women of the hudson river school May 2–October 31, 2010 essays by Nancy Siegel and Jennifer Krieger 218 Spring Street, Catskill, NY 12414 518.943.7465 • www.thomascole.org Edith Wilkinson Cook (active 1851–1875) FIG.1: Autumn Landscape with Figures, 1871 1 5 Oil on canvas, 7 /4 x 5 /8 in. Mark Lasalle Fine Art director’s statement d N MAY 2010 THE THOMAS COLE NATIONAL HISTORic SITE opened the first known exhibition to focus Isolely on the women artists associated with the Hudson River School, the nineteenth-century land- scape painting movement. Considering all the attention that has been given to this art movement in recent decades, it is certainly time that the names of these women become better known. The fact that there were women artists who were inspired by the landscape during the same years as Thomas Cole, Asher Durand, and Frederic Church is a story that needs to be told, and we are so pleased to bring their fascinating lives and work to the public. Their landscape paintings, and the stories behind them, speak to these women’s perseverance, triumph, heartbreak, and even their sense of humor about it all. One young woman was forbidden to create art, and her drawings were burned by her stepmother. Another was conducting her art career while raising her children as a single mother. Yet another climbed “all the principal peaks of the Catskills, Adirondacks, and White Mountains, as well as those of the Alps, Tyrol, and Black Forest, often tramping twenty-five miles a day, and sketching as well, often in the midst of a blinding snow- storm,” according to an 1889 article.1 And all this in the sort of clothing we today would not consider practical.