America's Little Giant

Total Page:16

File Type:pdf, Size:1020Kb

America's Little Giant MONTAGE often colliding in funny ways with her mod- there are references to ancient Hebrew em- the present day. Unlike a Jonathan Safran ern characters. “The great thing about get- bedded in the work—you can’t avoid it. So Foer or a Michael Chabon, she fills the void ting a doctorate was that no one expects you many figuresof speech are linked to ancient of “Jewish identity” with a deep knowledge to finish it!” she says. “Every time I would get sources and the commentaries on them.” of Jewish sources. stuck on my dissertation I would procras- Horn didn’t start writing fiction until the Horn’s interest in engaging imaginatively tinate by writing my novel, and vice versa, year after college, while on a miserably lone- with Jewish texts extends to her personal so I never felt like I was doing any work.” ly postgraduate fellowship at the Universi- religious practice. “We have a Passover Sed- Growing up, she sensed what she de- ty of Cambridge (“England just wasn’t my er that’s extremely epic, where we put up scribes as a thinness to scene,” she says, laughing). a pyramid in the living room, I wear a pha- American Jewish literature. She had always been terri- raoh costume and my husband wears a Mo- “In the 1980s and ’90s, when fied of the genre, until the ses costume, we have ‘plague drops’ where you told someone you were realization that “books don’t stuff falls out of the ceiling, we have a ‘hail interested in Jewish litera- come out of nothing”—that cannon’ that fires Ping-Pong balls into the ture, they’d hand you a book they’re in conversation with room, and we have a drone strike for the last by Philip Roth. This whole other books—gave her the plague,” she enthuses. “What’s important to generation of Jewish writers confidence to make up stories us,” she emphasizes, “is less about the ritual from the last century were re- of her own, to fill the gaps in aspects, or that you have to believe x, y, and ally writing more about the modern Jewish literature. z. What’s important to my family is being first-generation American “When I first started writ- invested and creatively engaged with this experience, the experience ing my novels, part of my mo- tradition, which is of a piece with what I’m of Judaism as a social identi- tivation—in the way that doing in my books.” ty. And I was like, ‘This is so you’re massively ambitious She aims to make the Jewish tradition not what I’m looking for.’” Those authors when you’re younger and then realize, ‘Oh, welcoming not just to a Jewish audience, dwelled on questions about assimilation that was dumb’—was to ‘fix’ this problem,” but to a broader readership. “Is everyone and authenticity; Horn was uninterested in she says. “I thought, wouldn’t it be cool if going to understand every reference in that conversation (which she calls “annoy- we could have this in English? Contempo- there? No, but that’s not a problem. When ing”). Since her college and doctoral work, rary stories that bring alive these ancient I’m reading Salman Rushdie, I’m not sitting she has come to link this thinness to the dis- texts?” And so Horn’s 2006 novel The World here waiting for an explanation of why some appearance of Hebrew and Yiddish context to Come, written while she was avoiding her character is covering her hair. I don’t want from contemporary American Jewish writ- doctoral work, weaves the life and stories to read a book with footnotes—I want to ing. “When you’re reading modern Hebrew, of the Soviet Yiddish writer Der Nister into be welcomed into a world.” she was called after her husband was elect- America’s Little Giant ed president in 1808) who made the role of first lady an influential and gracious posi- Revisiting the father of the Constitution in an era deeply divided by tion as one of the new capital’s most ebul- factionalism lient and popular hostesses. She founded a home for orphaned young girls while she by lincoln caplan and Madison lived in the White House, and as his widow and a beloved public figure, she was made an honorary member of Con- olley payne todd called her and three quarters, well proportioned, her gress, among other tributes, and chosen to soon-to-be husband, just before features pleasing though not remarkable in send the first person- she met him, “the great, little form except her mouth which was beauti- al telegraph message. D Madison.” She was about to turn ful in shape and expression.” He was three In James Madi- The Three Lives of James 26, a widow who had lost her first husband or four inches shorter, physically frail and son’s public career, Madison: Genius, Parti- and their baby son to yellow fever and had prone to severe migraines, and deeply intro- spanning four ex- san, President, by Noah been left with their toddler son and a small verted. He asked her to marry him because, ceptionally produc- Feldman ’92 (Random amount of money. James Madison Jr. was 43, quite unexpectedly after failing in one pre- tive decades, this House, $35.) a congressman from Virginia temporarily vious attempt at courtship and becoming a private passion of frustrated by politics, and a gentleman by bookish bachelor, he fell in love with her. his—what he called birth who would soon inherit more than 100 She accepted his proposal because he was “the sentiments of my heart”—is the most slaves and 4,000 acres. They met in 1794 in “the man who of all others I most admire.” visible evidence of the force that fueled him. Philadelphia, America’s temporary capital The marriage, she wrote, would provide As Noah Feldman, Frankfurter professor of while Washington, D.C., was being built. “everything that is soothing.” law, writes in his excellent, authoritative, In his estimation, she was “5 feet, 7 inches Dolley Madison was the presidentress (as and lucid reassessment of Madison, “Dol- 56 January - February 2018 Reprinted from Harvard Magazine. For more information, contact Harvard Magazine, Inc. at 617-495-5746 MONTAGE ley frequently expressed opinions and emotions that Madison hid from view.” He was known as a dispassionate man of rea- son, systematic and mild- mannered, who preferred the company of ideas and lacked the need for at- tention many politicians have. Yet his profound sense of purpose made him a statesman of enor- mous impact. He imag- ined the United States as a unified nation rather than a confederation of republics with diverging interests in agriculture and trade, and helped shape that country. Madison is rightly known as the father of the United States Constitu- tion. (Jack Rakove, Ph.D. ’75, the Stanford histori- an and political scientist Portraits of James Madison, 1816, by John Vanderlyn and of Dolley Madison, 1804, by Gilbert Stuart whom Feldman acknowl- edges as “the master of Madison scholars,” the Federalist Party. After it morphed into carrying out the will of the people by law, called him “the Greatest Lawgiver of Moder- Jefferson’s and his Democratic-Republican not force. Officials would do that by devis- nity.”) From 1776, when he was only 25, until Party, they led it to national power. Finally, ing domestic and foreign policies and enact- 1791, he was: the primary dreamer, designer, he established America’s place in the world, ing them into law, and by collecting taxes to and drafter of the nation’s fundamental law; as secretary of state and, during the War of carry them out. The basic risk of this form one of the chief publicists in getting it ratified; 1812, as president. Feldman presents these of republicanism was that the majority—no and its principal modifier as the proposer and chapters as a story of Madison’s intellec- matter how virtuous, self-restrained, or God- drafter of the Bill of Rights. He embraced the tual, psychological, and political growth, fearing—would violate the rights of minori- First through Tenth Amendments to protect starting with his college years at Princeton. ties. Madison’s first solution was “enlarge- individuals from government infringement (It was “the only institution on the conti- ment.” He favored a nation large enough that and stave off a second constitutional conven- nent where a diligent student could acquire the interests and factions within it would tion, which he feared would rip the northern the foundations of a truly excellent educa- be less likely to overlap and, if they did, it and southern states apart. (Rakove wrote that tion,” Feldman advises, since Harvard and would not be easy for them to come together Madison had the “capacity to think like a his- Yale were then “parochial in their teach- and form a dangerous majority. His second torian and predict like a social scientist.”) He ing.”) This growth was reflected in a series solution was checks and balances. He fore- is less well known and secondarily recognized of surprising and major about-faces in his saw factions, whether political, economic, for his accomplishments between the ages of thinking about the needs of the new nation. religious, or otherwise, checking each other. 50 and 67, when he served as Thomas Jeffer- Nineteen years younger than George Wash- He envisioned branches of government ex- son’s secretary of state (1801 to 1809) and the ington, 16 years younger than John Adams, pressly designed to balance as well as check country’s fourth (and first war-time) presi- and eight years younger than Jefferson, who each other, so the government did not set dent (1809 to 1817).
Recommended publications
  • 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.
    [Show full text]
  • Treason Trial of Aaron Burr Before Chief Justice Marshall
    Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1942 Treason Trial of Aaron Burr before Chief Justice Marshall Aurelio Albert Porcelli Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the United States History Commons Recommended Citation Porcelli, Aurelio Albert, "Treason Trial of Aaron Burr before Chief Justice Marshall" (1942). Master's Theses. 687. https://ecommons.luc.edu/luc_theses/687 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1942 Aurelio Albert Porcelli .TREASON TRilL OF AARON BURR BEFORE CHIEF JUSTICE KA.RSHALL By AURELIO ALBERT PORCELLI A THESIS SUBJfiTTED IN PARTIAL FULFILLMENT OJ' mE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN LOYOLA UNIVERSITY .roD 1942 • 0 0 I f E B T S PAGE FOBEW.ARD • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • 111 CHAPTER I EARLY LIFE OF llRO:N BURR • • • • • • • • • • • • • • • • • • • • • l II BURR AND JEFF.ERSOB ••••••••••••••••••••••••••• 24 III WES!ERN ADVDTURE OF BURR •••••••••••••••••••• 50 IV BURR INDICTED FOR !REASOB •••••••••••••••••••• 75 V !HE TRIAL •.•••••••••••••••• • ••••••••••• • •••• •, 105 VI CHIEF JUSTICE lfA.RSlU.LL AND THE TRIAL ....... .. 130 VII JIA.RSHALJ.- JURIST OR POLITICIAN? ••••••••••••• 142 BIBLIOGRAPHY ••••••••••••••••••••••••••••••••• 154 FOREWORD The period during which Thomas Jefferson, John Marshall, and Aaron Burr were public men was, perhaps, the most interest­ ing in the history of the United States.
    [Show full text]
  • Annual Report 2004
    mma BOARD OF TRUSTEES Richard C. Hedreen (as of 30 September 2004) Eric H. Holder Jr. Victoria P. Sant Raymond J. Horowitz Chairman Robert J. Hurst Earl A. Powell III Alberto Ibarguen Robert F. Erburu Betsy K. Karel Julian Ganz, Jr. Lmda H. Kaufman David 0. Maxwell James V. Kimsey John C. Fontaine Mark J. Kington Robert L. Kirk Leonard A. Lauder & Alexander M. Laughlin Robert F. Erburu Victoria P. Sant Victoria P. Sant Joyce Menschel Chairman President Chairman Harvey S. Shipley Miller John W. Snow Secretary of the Treasury John G. Pappajohn Robert F. Erburu Sally Engelhard Pingree Julian Ganz, Jr. Diana Prince David 0. Maxwell Mitchell P. Rales John C. Fontaine Catherine B. Reynolds KW,< Sharon Percy Rockefeller Robert M. Rosenthal B. Francis Saul II if Robert F. Erburu Thomas A. Saunders III Julian Ganz, Jr. David 0. Maxwell Chairman I Albert H. Small John W. Snow Secretary of the Treasury James S. Smith Julian Ganz, Jr. Michelle Smith Ruth Carter Stevenson David 0. Maxwell Roselyne C. Swig Victoria P. Sant Luther M. Stovall John C. Fontaine Joseph G. Tompkins Ladislaus von Hoffmann John C. Whitehead Ruth Carter Stevenson IJohn Wilmerding John C. Fontaine J William H. Rehnquist Alexander M. Laughlin Dian Woodner ,id Chief Justice of the Robert H. Smith ,w United States Victoria P. Sant John C. Fontaine President Chair Earl A. Powell III Frederick W. Beinecke Director Heidi L. Berry Alan Shestack W. Russell G. Byers Jr. Deputy Director Elizabeth Cropper Melvin S. Cohen Dean, Center for Advanced Edwin L. Cox Colin L. Powell John W.
    [Show full text]
  • “The Humble, Though More Profitable Art”
    “THE HUMBLE, THOUGH MORE PROFITABLE ART”: PANORAMIC SPECTACLES IN THE AMERICAN ENTERTAINMENT WORLD, 1794- 1850 by Nalleli Guillen A dissertation submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Doctor of Philosophy in History Spring 2018 © 2018 Nalleli Guillen All Rights Reserved “THE HUMBLE, THOUGH MORE PROFITABLE ART”: PANORAMIC SPECTACLES IN THE AMERICAN ENTERTAINMENT WORLD, 1794- 1850 by Nalleli Guillen Approved: __________________________________________________________ Arwen P. Mohun, Ph.D. Chair of the Department of History Approved: __________________________________________________________ George H. Watson, Ph.D. Dean of the College of Arts and Sciences Approved: __________________________________________________________ Ann L. Ardis, Ph.D. Senior Vice Provost for Graduate and Professional Education I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: __________________________________________________________ Katherine C. Grier, Ph.D. Professor in charge of dissertation I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: __________________________________________________________ Rebecca L. Davis, Ph.D. Member of dissertation committee I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: __________________________________________________________ David Suisman, Ph.D. Member of dissertation committee I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy.
    [Show full text]
  • 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.
    [Show full text]
  • Fitz Henry Lane's Series Paintings of Brace's Rock: Meaning and Technique
    Fitz Henry Lane’s Series Paintings of Brace’s Rock: Meaning and Technique FITZ HENRY LANE’S SERIES PAINTINGS OF BRACE’S ROCK: MEANING AND TECHNIQUE A report concerning the relationship of Lane’s painting series, Brace’s Rock Cape Ann Museum, Gloucester, MA (CAM) National Gallery of Art, Washington DC (NGA) Terra Foundation for American Art, Chicago (TFAA) By H. Travers Newton, Jr., Consultant, Painting Conservation Studio, Cleveland Museum of Art Based on collaborative research with Marcia Steele, Chief Conservator, Cleveland Museum of Art Prepared for Elizabeth Kennedy, Curator of Collection, edited by Peter John Brownlee, Associate Curator, with the assistance of Naomi H. Slipp, Curatorial Intern, Terra Foundation for American Art April, 2010 ©2010 H. Travers Newton, Jr. 1 Table of Contents Project Introduction and Summary, 3 Part One: Review of the Literature I. Historical Background of Lane’s Images of Brace’s Rock, 4 II. Thematic Inspirations, Interpretations and Precedents: 1. Shipwrecks, 6 2. Nineteenth-Century Panorama Drawings and Paintings in the United States, 12 3. Influence of Thomas Doughty’s Nahant Beach Series, 14 4. Influence of Thomas Chambers, 16 5. Possible European Influences: Dutch Landscapes, 17 6. British Influences: John Ruskin and the Depiction of Rock Formations, 17 7. German and Danish Influences: Caspar David Friedrich and Christoffer Wilhelm Eckersberg, 20 Part Two: New Conservation Research on the Brace’s Rock Series, 21 III. Comparison of National Gallery of Art and Cape Ann Museum Versions of Brace’s Rock 1. Relationship of the Field Sketch to the Paintings: The Setting, 22 2. Absence of Reflections in Lane’s Drawings, 24 3.
    [Show full text]
  • Annual Report 2003
    NATIONAL GALLERY OF ART WASHINGTON, D.C. 2003 ANNUAL REPORT BOARD OF TRUSTEES (as of 30 September 2003) ART & EDUCATION TRUSTEES' COUNCIL Harvey S. Shipley Miller COMMITTEE (as of 30 September 2003) Diane A. Nixon Victoria P. Sant, Lucio A. Noto, John G. Pappajohn Chairman Chair Sally Engelhard Pingree Earl A. Powell III LaSalle D. Leffall Jr., Mitchell P. Rales Robert F. Erburu Vice-Chair Catherine B. Reynolds Julian Ganz, Jr. Heidi L. Berry Sharon Percy Rockefeller David 0. Maxwell W. Russell G. Byers Jr. Robert M. Rosenthal John C. Fontaine Calvin Cafritz Roger W. Sant Robert F. Erburu Victoria P. Sant Julian Ganz, Jr. Melvin S. Cohen B. Francis Saul II Chairman President FINANCE COMMITTEE William T. Coleman Jr. Thomas A. Saunders III Victoria P. Sant, Edwin L. Cox Albert H. Small Chairman Robert W. Duemling Michelle Smith John W. Snow, James T. Dyke Ruth Carter Stevenson The Secretary of the Treasury Barney A. Ebsworth Roselyne C. Swig Robert F. Erburu Mark D. Ein Frederick A. Terry Jr. Julian Ganz, Jr. Edward E. Elson Joseph G. Tompkins David 0. Maxwell Doris Fisher Ladislaus von Hoffmann John C. Fontaine Aaron I. Fleischman John C. Whitehead Juliet C. Folger John Wilmerding AUDIT COMMITTEE John C. Fontaine David 0. Maxwell John C. Fontaine William H. Rehnquist Nina Zolt The Chief Justice of Robert F. Erburu, Marina K. French the United States Chairman Morton Funger EXECUTIVE OFFICERS John W. Snow, Lenore Greenberg Victoria P. Sant The Secretary of the Treasury Rose Ellen Meyerhoff Greene President Julian Ganz, Jr. Frederic C. Hamilton Earl A.
    [Show full text]
  • Statuary and Paintings in the Old Capitol
    CHAPTER VII STATUARY AND PAINTINGS IN THE OLD CAPITOL HE need of ornamentation for the Capitol Building was appre- the eagle on the frieze in the House of Representatives. This piece of ciated by its designers from the beginning of the work.1 work met with the hearty approval of Latrobe and others who were Thornton indicated sculptural work on his earliest drawings, familiar with its appearance. August, 1807, a model of the Statue of Lib- and advocated finishing or decorating the interior of the erty by Franzoni was placed between two columns in the colonnade, Tbuilding with foreign marbles. Such treatment was beyond the pecu- over the Speaker’s chair.3 niary capacity of the Government at that period, but as the wings Andrei’s first work was on the capitals in the House of Represent- neared completion under Latrobe we find that he sought the assistance atives. All of the above-mentioned sculptural work was destroyed when of sculptors to do the decorative carving and model the statuary which the British burned the Capitol. When work was again commenced and he thought appropriate to accentuate and ornament the building. the repairs of the building begun, Andrei was sent to Italy, in August, Artists of this character had found no inducement to establish them- 1815, to secure capitals for the Halls of Congress, and at the same time selves in the United States, therefore it was necessary to obtain them he was authorized to engage sculptors who were proficient in modeling from abroad. As the House of Representatives neared completion figures.
    [Show full text]
  • 19Th Century Painters: Hudson River School Hudsonrivervalley.Com
    Map & Guide Series Na lley tion Va al Hudson River Valley r H e e v r i i 19th Century Painters: t National Heritage Area, New York R a g n e o A hudsonrivervalley.com s r d e u a Hudson River School H rom the 1820s through the end of the century, the natural wonders of the Hudson River Valley kindled one of the most significant achievements in the nation’s cultural history—the development Fof a style of painting that expressed the American character. In 1825 the dramatic scenery of the Hudson River Valley inspired a young artist, Thomas Cole, to create the first paintings of the American landscape in the new, Romantic style. What began as a casual group of painters eager to capture the beauty of upstate New York grew to become a school of artists who traveled the country and even the world producing some of the masterpieces of American art. Paintings shown in this brochure can be seen in the Hudson River Valley at the indicated heritage sites. View of Tappan Zee from Lovat Hill, Jasper F. Cropsey, 1887, Newington-Cropsey Foundation, Hastings-on-Hudson Please see the map side of this brochure for information about collections of Hudson River paintings. A New Artistic Philosophy for tourism. Summer retreats appeared American Academy of the Fine Arts, who The mid-1820s was a remarkable time in up and down the Hudson River. The bought the painting and spread the news the Hudson River Valley. The Catskill valley attracted entrepreneurs, tourists, about the new young painter on the New Mountain House, the country’s first and travelers eager to share in the wealth, York art scene.
    [Show full text]
  • UNITED STATES NATIONAL MUSEUM Bulletin 70
    THE NATIONAL GALLERY OF ART SMITHSONIAN INSTITUTION UNITED STATES NATIONAL MUSEUM Bulletin 70 THE NATIONAL GALLERY OF ART DEPARTMENT OF FINE ARTS OF THE NATIONAL MUSEUM By RICHARD RATHBUN Assistant Secretary of the Smithsonian Institution, in Charge of the United States National Museum WASHINGTON GOVERNMENT PRINTING OFFICE 1909 BULLETIN OF THE UNITED STATES NATIONAL MUSEUM JULY 1, 1909 CONTENTS Page Introduction 9 The National Institute, 1840-1862 25 Annotated list of art objects in the museum of the National Institute 31 The Smithsonian Institution and U. S. National Museum 45 Organization, plans, and building 45 Narrative history of the art collections under the Smithsonian Institution 51 The National Gallery of Art 87 The Harriet Lane Johnston collection 88 The Charles L. Freer collection 102 The William T. Evans collection 115 Permanent acquisitions from other sources 133 Loans and deposits 136 5 ILLUSTRATIONS Facing page. buUding, 1906, before A corner of the picture gallery in the Museum showing a part of the Harnet Lane it had been entirely remodeled, Johnston collection 32 George P. A. Healy. F. P. G. Guizot, 1841 34 George P. A. Healy. President John Tyler Painted for the National Institute. 1842. 48 Original floor plans, Smithsonian building were those ongmally The two rooms on the first floor marked C of the second floor was designed for the gallery of art. The western end from 1858 to 1865. Repro- used for the collection of Indian paintings among other illus- duced from "Hints on PubUc Architecture, containing, Institution; together with trations, views and plans of the Smithsonian Prepared, on behalf of the an appendix relative to building materials.
    [Show full text]
  • Coastal Scene and Transient Dream: Washington Allston Revealed
    Midwest Journal of Undergraduate Research 2019, Issue 11 19 Coastal Scene and Transient Dream: Washington Allston Revealed Jacob Friedrich Roanoke College Jacob Friedrich of Knoxville, Tennessee, graduated from Roanoke College in 2019 with a bachelor’s degree in art history, a minor in German, and concentrations in anthropology and global business. During college summers, Jacob worked as an archaeologist and ceramicist in both Cahokia and Egypt. To complement his studies, Jacob focused his research on Washington Allston and Germanic St. George iconography during the Reformation. He studied abroad in Bamberg, Germany, and visited thirteen countries in Europe during his stay. He now works as a legal assistant at a Knoxville law firm, operates his own stained glass business, and enjoys taking flying lessons in pursuit of his pilot’s license. He wishes more people would “live a little.” Abstract Washington Allston (1779-1843) is known as the father of the Romantic period in American Art. He is best known in art history for the struggles that defined his late career. In this paper, I introduce an unknown painting from the beginning of his career: Coast Scene on the Mediterranean (1810). Allston painted Coast Scene in Boston after his return from artistic study in Europe. The simple sunrise scene is rife with allusions to classical tales which, I argue, cryptically narrate Allston’s frustrations with American reception of his art, and may communicate his intentions to leave America for good. These references show that the sun may have set on Allston’s artistic dreams in America. Allston utilized metaphoric themes to narrate his personal story.
    [Show full text]
  • The Promise and Ambition of John Gadsby Chapman
    BUILDING A NEW AMERICAN ART CULTURE: THE PROMISE AND AMBITION OF JOHN GADSBY CHAPMAN A THESIS SUBMITTED ON THE TENTH OF MAY 2016 TO THE DEPARTMENT OF HISTORY OF ART IN PARTIAL FULFILLMENT OF THE REQUIREMENTS OF THE SCHOOL OF LIBERAL ARTS OF TULANE UNIVERSITY FOR THE DEGREE OF MASTERS OF ARTS BY TOM STRIDER FACULTY ADVISOR: PROFESSOR MIA BAGNERIS ©Copyright by Tom Strider, 2016 All Rights Reserved TABLE OF CONTENTS Acknowledgements…………………………………….….…………….………………iii List of Figures…………………………………………………………………………...iv Introduction and Review of the Literature……………….…….…………………...……1 Part One: Chapman in Context………………………….……………………...……….10 Part Two: The Case of Hagar and Ishmael……………………………......……….……61 Conclusion………………………………………..…….……………………………….73 Figures……………………………………………...….……………......………………75 Appendix: Chapman in Tulane Collections……………………………………………..99 Bibliography………………………………………….…………………..…….…...….101 Biography………………………………………...…………………………...………..109 ii ACKNOWLEDGEMENTS I would like to thank Dr. Mia Bagneris for her inspiration, editorial advice, and guidance throughout the development of this thesis. I would also like to extend my sincere gratitude to the other members of my committee, Dr. Stephanie Porras and Dr. Leslie Geddes. Thanks also to professors Ann Dunlop and Suzanne Walker for recommending that I pursue art history studies on a graduate level. I am grateful to the late Dr. Jessie Poesch for her enthusiasm and her groundbreaking scholarship on the art of the South. Thanks also to Elizabeth Boggess for generously sharing her research notes and Linton-Surget family history. I am especially grateful to George Bernstein, Michael Syrimis, and Josh Lupkin, for their support and to Laura Richens and Michael Plante who read the thesis prospectus. Finally, I would like to thank my family for their encouragement during the writing process and to acknowledge my grandmother Olive Hunt Shelor for stimulating my early interest in Pocahontas.
    [Show full text]