1. Rene Laudonniere and Native American Chief at Ribault Column ca. 1570 10 x 7.5 in.

2. First painting of new world Work = lithograph (easier to transport) Column = center; noblemen = right Functions as map: NW on left, OW on right Cornucopia = brought by all; in foreground = visual dominance = offerings of natives Low horizon line = typical of this period Shows vastness and expanse = We love land! Vibrancy + clarity, relies on symbols; fruit = fruit of land 3. Column built in 1562 by Jean Ribault, a French navy officer, explorer, and colonizer In Jax, FL! Statement to claim land 4 France Meant to document historical event but did Le Moyne ever see it?? *About memory Natives naked = statement of uncivilized + kneeling = no pwr Le Moyne settles in England; documenter of settler life 4. Jonathan Freake ca. 1671 3.5x3 ft Commissioned by sitter Wealthy lawyer associated with John Calvin, who thought wealth = assigned favor of God Not what you've done, but who you are Hands awk, little modeling, porcelain skin, glove = gentleman Buttons create balanced composition & structure within Lace, broach, ring = overload of wealth 5. Jonathan Freake cont. Sense of elegance conveyed No wig = no British association Imported fashions distinguished from Brits + wrking class Long hair = not puritan, but hair length = medium = balance puritan and wrking class = intersection of 3 IDs Flushed cheeks, direct gaze, position of confidence Freake portraits = identity + balance 6. Elizabeth Clarke Freake and Baby Mary ca. 1671/4 3.5x3 ft. Baby added later (art can change with time) New regard 4 visual representation Flat, 2D surface, pushes against plane Attn paid to lace, decorative elements These pull work together, like use of color red Modeling, sense of 3D 7. Elizabeth Clarke Freake and Baby Mary cont. Typical madonna + child placement/motif = conscious Xtian reference Gold + silver displayed; tapestry (Baroque flavor) turkey-work: gesture to Middle Eastern influences suggestion of worldliness Her clothes probably from all over Europe These portraits set precedent of including furniture as sign of affluence (Cromwellian chair) 8. Margaret Gibbs, ca. 1677 Un-Ided artist Lace = costly (attn to detail) Red in trim and shoes Displayed like an adult kids not @ play 17th cent. Art thinks about happenings in Europe Lots of empty space makes you look at figure = Baroque influence, but not baroque (no modeling) Looks 2 England lrgly medieval; flattened; attn to display of wealth Detail; flat; staid; controlled; distinct light; limited gesture 9. Oak Chest ca. 1663-1680 By Thomas Dennis 10. Oak Chest by Thomas Dennis Furniture, dress = material culture = manmade objects Jules Prown (scholar) thought manmade works reflect values of those who made them & society in which they live Owned by wealthy, ornate, careful detail High skill required (usually thru apprenticeship) Covered in decorative patterning = low-relief (sculptural) Intricate patterns Artisans make material culture Displays skill of carver, aesthetic + technical skill liked Blend of artistry + practicality Art served greater purpose than hanging in museums 11. Elizabeth Paddy Wensley ca. 1670S 1670's = Shift in style Un-Ided Boston artist Beginnings of change: stiff, awk presentation, basic modeling...BUT fleshiness, feels more human-like, more like representation of individual More sophisticated use of lighting; adds gentle qualities (hint of shadow under cheek) Emphasis on wealth: ring, dress, lace (like Limner works) Artist gentle sense of line/elegance 12. Elizabeth Paddy Wensley cont. dow device: gives perspective = challenge for scape hard 2 read, but Baroque influence with sh court styles (rich color) t aware of what needs to be added to show acteristic of sitter (wants to make her pretty) e comfort among artists in New World 13. Major Thomas Savage ca. 1679 In Boston (3.5 x 3 ft) Impressive lace, military man, coat of arms helps us ID him Savage = colonialist + soldier meager beginnings in middle class (dad = blacksmith) Helped found RI in 1638 Pic late in life captures him at point of reflection He's established himself (outside = gesture to his role as military leader) Seascape points to his role as merchant 3D understanding, anatomy + color Thought out palette (gold woven through) Thomas Smith (1650-1690) 14. Captain Thomas Smith ca. 1680 Self portrait; 2 x 2 ft Wealthy mariner (seen many styles) like window motif (present after 1670) Marks arrival of Baroque in America Stylistic Shift Work layered, expressive curve of face + flesh captured More sense of portrait than template Diverse color, subtle + rich Sense of rhythm: repetition in lace repeats shape in his body (hair) + tassel layers of motifs 15. Captain Thomas Smith cont. 1. portrait 2. seascape (naval engagement = his time in navy) 3. still life (skull + poem) Smoke quality repeated in hair + lace Work = autobiographical summary of his life Poem = farewell from evils of world impending death Skull: momento mori/vanitas Portrait to read like text to read *His vanitas shows he's in conversation with Western Art 16. Fairbanks House, 1636 Dedham, MA Oldest wooden frame house in America Effective use of wattle & daub Timber frame, clapboard siding Pitched/angled roof for weather In England plaster used, but not here Basic interiors, double-duty spaces, mostly open Later added on to Lacks symmetry; windows off center (glass teuer!) Interior off-center = medieval influences; low ceiling 17. The Parson House June 8, 1683, Topsfield, MA Date = day frame raised Built for Rev. Capen = farmer + political leader The fact that town built it for him showed his status in town center Pitched/gabled roof = early characteristic 18. The Parson House cont. Straight, large beam = simple Planks convey sense of importance Largely asymmetrical = public statement = propaganda Conscious gesture toward medieval style (comes directly from England) Gables, sharply sloped roofs Prominent chimney = sign of wealth here we have 2 chimneys, but back to back to look like 1 = Modesty comes from Puritan vein 19. Portrait of Mrs. James Pierpont (Mary Hooker) ca. 1711 Pierpont Limner, 2.5 x 2 ft Bust-length, all about her Artist telling us she's pretty direct gaze = confidence Soft, feathery outline + brushwork Quicker brushwork = more energy + easier to make subject look pretty Fluid, confidence of artist Style of Queen Anne's Court Lace only enhances her no statement of what she owns Minister's wife: ease & grace offered in work How she looks = wichtiger als who she is in society Hair in style of Queen Anne (= her big role of Queen) 20. John van Courtlandt ca. 1731 Pierpont Limner Tree + building = interior + exterior Courtly gesture: hands of goodwill/confidence Turn of foot don't need to hold gloves another way to convey class Sense of finery: split ext. + inter. Spaces Individual in middle = harmony + natural abundance deer came right up natural abundance with material wealth + importance Artist figuring how to paint deer in space Clean composition, muted colors except clothing call attention Artist has little sense of anatomy 21. Background... Hierarchy history + religious painting (meant to teach) portraiture/landscape (in Western art) still-life genre (everyday life) Americans not painting history have none and no true religious foundation 1700: most colonialists of Euro descent Mainly Brits (300K) vs. French (600) Influences from Britain many artists go there and come back Growing merchant class have economic + cultural power Class awareness partly comes from Brits Transatlantic Xchange wealthy & use $ to act like Brits Increased emphasis on decorum + education Painting rapidly develops 22. Henry Darnall III ca. 1717 First professional portrait artist in the south Justus Englehardt Kuhn Patrons = upper crust in south = those who own plantations Kid: height of fashion Leaning against bow = testament to skill as hunter we know he's good at it hunting = sport of the rich Slave behind him; metal collar Sits behind banister = lesser Earliest recording of an African American in painting Kid = focal point 23. Henry Darnall III cont. Slave's head much lower, gazes on master Presentation of class + wealth Wondrous landscape in back palatial, not America About grandeur + elegance testament to Europe and all family has and knows Loose brushwork though stiff & forward facing kid Loose curtain + tassel = baroque, trying to push forward New way to show wealth not just by lace Kuhn slowly falls out of favor & dies in poverty 24. Gustave Hesselius ca. 1682-1755 Born in Sweden moved in 1711 to Philly/DL Studied in London, then Sweden Has official artistic training. In 1712 = main portrait artist in Philly People wanted more artist training abroad Lots of economic contact btwn here + GB Art important statement focus on fine art Still serves a purpose, but not just documentation or comment on sitter Different kinds of art gesturing in to Biblical stories + mythology Grand tradition of European painting theme taken from mythology 25. Bacchus and Ariadne ca. 1720 A little ambitious musculature off Lots of elements crammed in to show off Abundance of visual elements Influence of Baroque coming to painting Variety of body forms Hierarchies of Western art wants to solidify it in colonies Partially nude; vibrant, sensuous colors Figures passed out Mythology story: must be educated to understand Painted sculpture = gesture to Europe Statement that it's fine art 26. Tishcohan ca. 1735 Native American chief of Lenape Tribe in DL Figures agreed to have portraits taken document, not for self-promotion They didn't have control over image Not in natural environment puts them in traditional portrait format Direct presentation: length, little elements that show who they are (blue cloth, pouch on 1) No truth in imagery doesn't matter if they don't look this way Differentiated through blue drape and skin tone Being sensitive to differences btwn them (skin color) 27. Tischcohan He who never blackens himself Direct, forward presentation: about individual, not stereotype Coming for objectivity he's recording Indians 2 be signers of Walking Peace treaty Sons of William Penn (John + Thomas) claimed they had original treaty from 1680 promising to sell land as far as man can walk Treaty = lie John + Thomas made indians sign it Portraits document treaty not weighing in politically or socially Commissioned by Brit named Penn Pushing toward noble savage 28. The Reverend Cotton Mather ca. 1728 Print in Wuster, MA Ex of mezzotint many artists start working with it Popular in England Clean, crisp lines Pelham born in England; makes big connections when he goes 2 US starts as Limner Favors mezzotint US artists considered 2nd tier Pelham = force in Copley's life Work mass produced; stated as printing, made print More $ to be made 29. Reverend Cotton Mather ca. 1728 cont. Emphasis on character of face/individuality We could see this guy on the street Goes beyond set presentation of face Attempt @ realism, not objectivity Part of set of artists saw they could make $ as artists Limner + Hesselius have set rules Moves away from rules 30. Cardinal Guido Bentivoglio ca. 1720 Considered best of 1. wave of immigrant artists Born in Scotland Has access to art + supplies; has sense of materials 1. to set up career as artist Sehr wichtig in history of American art 1709: studied in London @ art school 1717-20: Grand tour in France+ Italy studied fine art Copied old masters John Smybert (1682-1755) in Boston 31. Cardinal Guido Bentivoglio cont. Copy of Cardinal Guido Bentivoglio by Anthony van Dyck ca. 1625 American artists see in van Dyck rococo more fluid + active brush Heavy palette, lighter brush = more flattering Not JUST about portraying social status Making sitter look attractive In copy: loose application of color Smyberts: firmer, blending not as smooth see orange + yellow near red Emphasis on line = outline = what contains form Outline in ears, starkness, + harshness This copy = advertisement, not just learning opportunity Was way 4 artist to advertise himself Trying out the Baroque 32. The Bermuda Group Dean George Berkley and His Family ca. 1729 33. The Bermuda Group... @ Yale, 69 x 93 in. Smybert's try at the Baroque goes all out Self portrait on far left Smybert sets up studio in London Berkley wants to hire him to teach arts @ his Uni Supposed to be in Bermuda to convert ppl to Xtianity School falls thru no $ but b4 Smybert commissioned to do work Dean = far right, wife holds son 2 gentlemen = college admins + John Wainwright (Berkley's friend) Baroque: different poses + direction of gazes & gestures in many ways tells you where to look Arms give lines, all very active 4 posed figures Red tapestry gives weight 1. Visually: light + airy @ top solidity @ bottom (robust) tied to Wainright, weight thru color 34. Red tapestry gives weight 1. Visually: light + airy @ top solidity @ bottom (robust) tied to Wainright, weight thru color 2. Commitment: very serious, w/ books we're learning Deep space: zig zag water idyllic landscape Understands perspective Balance of idyllic w/ reality of individuals (+ family portrait) Smybert signs it Who has power here? Men standing, vertical w/ columns, encase work, man touches book Women horizontal, holds baby Gender norms play out = revealing of society Womein in lighter colors = less serious, but holds gaze = her importance signified by those around her Smybert holds our gaze = very serious = here to work 35. Smybert knows modeling Uses naturalistic colors and selects flattering palette Nothing meant to distract from her Sheen of fabric = hard! Smybert's work starts to get plain not aesthetically interesting 36. Isaac Royall and His Family ca. 1741 37. @ Harvard Law, 56 x 78 in. Isaac Royall Jr. shown Accomplished artist but gone by 1750s Takes over Smybert's patronage Born in Long Island; mariner, son of preacher Self-taught status, but can paint on grand scale Grand scale 1720-1760 Gives weight to figures + table Stark lighting = harder quality less naturalistic Emphasis on outline + form = colonial impulse Reminds of early Limners Gender: formula followed Man standing in robust, eye-catching form, captures visual interest, becomes viewer's resource Women = horizontal, emphasized by table Formulaic composition 38. Royalls made $ off slaves + rum strong ties to London loyalist cause had sugar plantation Tree/foliage behind undeveloped = gesture to family Baroque-like presentation not much drama in body positions but in gazes + tilts of head + powerful palette = vibrant Break from Smybert = palette Challenge 4 Feke = skin tone so porcelain-like Insistent outline, individuality Feke paints youthful, ambitious, adventurous set of Boston = those up and coming Smybert = tride + true painter of those already established 39. Smybert vs. Feke Both part of Boston gang, along with Greenwood Smybert studio = where artists gathered + talked of aesthetics Both: grandeur, movement, thru eye + gesture Solidity of form Energy, zigzagging Grandeur thru primary colors Group portrait attraction Cutting edge with Baroque elements Sidenote: towards 19th cent. More history painting rather than portraiture 40. Feke Women portraits: grace, dignity, ease, charm = aristocratic values Women = principle of femininity presentation of self Emphasis on line, understands fabrics Women = central, but to R = landscape Feke = popular + taking over; follows similar structure Baroque Rococo: Serious playful What americans borrow: multiple gazes solid form + grander naturalistic presentation of interior (not lighting, but body placement) Purpose + message = serious Rococo: fun, central pleasures, lighter, brighter palette, curvy emphasis on narrative, less moral direction Sensuous line over the top Americans don't go far w/ it 41. Portrait of a Woman ca. 1748 Emphasis on natural abundance, femininity, repetition of flowers Flowers = fertility, softness, flattering, sheen of fabric Rococo becomes gender style in US For men, Feke holds masculine present Firm, solid, grand 42. Brigadier General Samuel Waldo ca. 1748-50 Feke has limited time frame Formal presentation, soft baroque/hard rococo not fully in either Pastel-like landscape(rococo) red jacket comes out @ you Red, gold framed by burgundy Contrasting play of color (background fades) Ankle = he's a gentleman Commissioned by city of Boston (big for Feke) = opportunity to be Boston painter Faithful likeness 2 individual Not natural presentation 43. Background tells this is Boston: natural + city qualities Conventional pose + baton = trope Manmade instrument of action sense of power All emphasis on him #1 native born painter @ end of work + 1. native q/ aesthetic impact on color & changes he made on Smybert's formula 44. The Greenwood Lee Family ca. 1747 John Greenwood (1727-1792) Completes group portrait = hard + statement of his ability Technically interesting includes self Greenwood = engraver, but not enough $ so moved to painting 1745 in Boston, then S. America + London Thought London important Get art by source Knew Smybert + Feke hung out @ Smybert's studio 45. The Greenwood-Lee Family cont. Work = bold presentation of artist Ambitious with lots of movement Little anatomical knowledge Domestic scene gives sense of sitters Women circle table = domesticity Dark color: sense of solidity Sheen of fabric Greenwood follows business (itinerant) 46. Sea Captain Carousing in Surinam ca. 1758 St. Louis Art Museum, 38 x 75 in., Greenwood *Only example of genre painting in America 47. Sea Captains Carousing in Surinam, cont. Genre painting: scenes of everyday life, usually mult. Narratives, complex Big in the 19th century Just what you see Bound by vignettes different pockets of activity move eye thru canvas Viewer meant to enjoy activity taking place Eclectic group: cptns., workers, slaves = vision of social diversity Image of leisure what one does after hours Not idealistic trying to be naturalistic Men in Pub Dutch mariners: trade rum, lumber, slaves Genre usually anonymous operate through types/larger statements Looked to William Hogarth: A Midnight Modern Conversation ca. 1732 Greenwood seems egalitarian, but slave nude Works: popular ideas/perception what groups usually do meant to enjoy activity/laugh 48. Isaac Winslow and His Family ca. 1755 Blackburn worked in sphere of Hogarth 2nd tier bad in London, good in colonies Went back to England 1762, politics becoming big Artists must decide loyalties Borrows/brings back rococo Light, rosy palette, feathery brushwork Colonial impulse = hard line Feathery quality = lighter touch, little marks Joseph Blackburn (1730-1778) Fantasy image, not documenting, puts emphasis on family Idea that family works and is important Informal: Isaac leaning relaxed, everyone at peace Male-female split; men = vertical Public statement: in house (what do sitter + artist want to say?) 49. Mary and Elizabeth Royall ca. 1757 Trying 2 merge European w/ colonial By 18th cent finally have history of painting Complicated composition So much satin = signature quality *materiality of goods Drapery = grandeur (Blackburn's influence) Refined sense of anatomy Active use of color contrast/give vibrancy Provides movement, activity, light, theater John Singleton Copley (1738-1815) 50. Mary and Elizabeth Royall cont. Hand on shoulder = physical contact = warmth, family, ease Balance theatricality w/ warmth Dependence/emphasis on line Focus on detail (fur of dog, starkness of satin) Accurate likeness: individualized, but flattering Complete Clarity: not about what eye does Copley asserting aesthetic presence controls what you see and how you see it 51. The Boy with the Flying Squirrel ca. 1765 Boy = Henry Pelham brother Not commissioned starts Copley's career as big artist self conscious demonstration of talent Made to ship to London exhibit w/ big exhibition at Society of Artists Makes art to be shown, not for $ - invested in relationship with British artists Now conversation, transmission Big emphasis on line + drawing (framing + structure) Colonial = extreme clarity, line, truth (gestures of technical skill) Boy in profile (adolescence), dramatic sweep of color pushes sitter out (negotiates distance btwn viewer + sitter) 3D, roundness, modeling psychological quality 52. Paul Revere ca. 1768 Sense of informality Everyday guard, seated @ table, sense of familiarity Table: creates line btwn us + subject (impediment) Table: invites us 2 engage w/ subject, sit down with him Added 2 w/ sensory detail want to touch table Sense that he's thoughtful, direct gaze = interaction Many connections made: Touches face + pot = connection of mental + physical labor 53. Paul Revere cont. Idea of pot, pot came from mind Draws eye between intellect, what he's made Reflective surfaces good @ perspective Weight given to figure in part thru background Takes visual + physical space Materiality of objects: etches name on pot as maker Visual qualities of American art: line + detail (Puritan values find their way in to this kind of art doesn't work w/ Copley 54. Mr. and Mrs. Isaac Winslow ca. 1774 Husband + wife, but individuality Experiments w/ portraiture Different gazes (she = wistful, he = direct) She has reserved posed, counteracts his gaze Open palm and body = friendliness, invitation, materials, want to touch Mrs. shown dignified & pretty Color dark in left = gender presentation Solidity + seriousness but then soft yellow Repeats red (makes viewer's eye work in X formation making work active) 55. Watson and the Shark ca. 1778 6 x 8 ft, 4 diff versions, APEX of western art About Watson Brook who fell off boat in Havanna Harbor Gift 2 orphanage, about perseverance, succeeding despite adversary Very personal relationship between Copley and Watson Emph on Watson: only guy in water, w/ imminent threat, standard pyramidal arrgment, ppl seek to help him, naked?, shark + him = action Brings intense emotion Comment on slavery + dismemberment of British Empire American revolution disruptive personally + professionally Prof wanted to make aesthetic art convo with England Wanted to be part of royal academy 56. Wants 2 push into history painting, but court already had official painter Work meant to be hopeful = biographical = symbolic work in realistic style = REALISM (history painting goes to it) Recognizable forms + elements, suggests truth Dramatic lung of shark 1. lower of nature + man altered visual detail 2 show importance 2. upper = dramatic rescue Theatrical, pyramidal structure (=stability, balance), though it leans Gives surging drama, heightens emotions Focus/weight @ hopeful contact: is he going to make it? Viewers become +savvy coincides with rise of sensationalism Ppl want excitement, this work feeds this Symbolism: loss of leg (perseverance), shark (adversary) has reflective surface which heightens artificiality of work loses materiality..doesn't really pull it off. Normally it seems like artist was there in history works 57. Representative of nature + the exotic Caribbean port = specific of exotic locale (shark lives in colonial waters) *scholars don't agree on visual sources 1. Grouping with movement/action Copley looks to Lacon sense of flow + movement, turn + twist More movement than seen before Rope coiling, connects visual elements; surging/diagonal Figure of African descent meant 2 be white, but made black later = comment on slave trade, black body at top = inversion of practice of overthrowing sick slaves *Copley doesn't take a position 2. Source from Prometheus by de Ribera ca. 1630 Circulating in London, mid 18th century, moment of suspending animation, dark palette = focus on body *Fated Exchange: commentary on occurring contest ppl fight over America Colonies being dismembered (like leg) 3. Biblical Image but no longer accepted 58. The Death of General Wolfe ca. 1770 National Gallery Canada, 5x7ft History = grand themes + grand ideas = pinnacle of painting = belief from 16th century hard 2 do therefore important Painting = visual form of history, has greatest potential 2 affect viewer Meant to impress/instruct Place, person/hero (to express ideals) + EVENT needed (should be dramatic!) Viewers meant to feel inspired by his sacrifice West = court painter to George III; makes career in London but born in PA **1. american artist to achieve international acclaim In NY, travels, Grand Tour (Italy 1760, London 1763) Royal patronage influences what he paints West founds ROYAL ACADEMY in London 59. This work gets West in trouble with George III = beginning of his end Exhibits @ Royal Academy in 1771, widespread acclaim ISSUE: contemporary in subject Never before put people in contemporary clothes Takes moment in Battle of Plains of Abraham, French and Indian War in 1759, war was precursor to Revolution Brits vs. French fight for Quebec, Brits win NEOCLASSICISM: Wolfe knew @ death that Brits won, fighting all around Set 3 Groupings: center = drama: light on body elegant pose, emphasis on pyramidal structure, draws eye to location Death scene: heightened drama The Lamentation, 1612 Rubens = moment of contact btwn Christ + mourners Wolfe = prone has contact w/ soldiers around him He tried to get lots of portraits to capture sense of grief 60. Reference to Bible = big deal, BUT contemporary history painting *How do you get sense of marvelous/extraordinary no blood, only evocation of violence Political Undercurrents: Reference 2 America Native American = creative departure, pose of contemplation, bears witness plays role of noble savage, Passive body, unconcerned Celebrates GB, warning to colonies (France = threat!) Exotic landscape (like Copley), eye-witness account Copley + West study landscape Historical authority: GB's story to tell affirms state and its power So many layers to political works nothing left to chance Artists construct history like construct painting = real, accurate 61. William Penn's Treaty with the Indians ca. 1771-2 62. Commissioned by Thomas Penn (William's son) He wanted to document the founding of PA Set on Delaware River, settlers vs. natives Not about integration = mtg btwn 2 different groups (ca. 1682) = Treaty of Friendship Natives shown in typical garb historical accuracy of clothes? Native Americans presented as type Quakers, Merchants, Indians all = in act of settlement Madonna scene says Indian existence not compromised by treaty All =, peace, friendship + historical document of treaty References physical document Stately Elm = @ site @ time = way West makes image have historical accuracy 63. *American painting, American treaty = between natives All about here and now Sense of harmony, reserve, grandeur Cohesive color all level + equal how bodies nebeneinander West: 1.) surging drama 2.)treaty equal + peaceful = Source for Copley 64. The Death of Major Pierson ca. 1782-84 In England, date January 6th , 1781, 8x12 ft Very recent event (2 years prior) Battle of Jersey: French vs. Brits 2 secure island Heated tensions = shifts in Empires fighting 4 control 1781: engagement assoc. with American Revolution Pierson died American/British history painting Surging diagonal w/ blood, falling body Collection of soldiers catch body, showing honor, delicacy Color red = urgency, drama Lamentation reference: compositional quality; 3 Groupings: 1.) Soldiers: lined = dramatic background, drummer's hand guides view 65. Black figure = historically accurate, avenges Pierson's death Important visual + narrative part (not an outsider) Integrated visually, repetition of color 2.) fleeing women + kids: higher stakes in fight families 3.) Middle: surging diagonal, cannon moves us to ladies, L R Bold colors meant to make you part of history 17 complete studies of this work Invested in detail, careful composition: feels staged, fixed, dramatic but located Baroque quality Flag = pseudo-cross, propaganda (Pierson = Christ) *contemporary events with contemporary people can be just as valuable * = create new pantheon of history painting Stakes higher!! 66. Charles Willson Peale (1741-1827) From Maryland, starts art in his 20s Has craftsman skills, taught by John Hesselius Sees Smybert's works, meets Copley + West (1767-1769) Studies with West for 2 years in London Paints portraits, patriot, served in military Made maps Heads = ovals = Smybert's influence *colonial: clarity, hard line, drawing Merged colonial with Rococo (tries to stray from set presentation) Affection shown 67. Charles Willson Peale cont. Rococo influence in portraits = informal pose, sense of connection between individuals Oval head (Peale stayed with this shape, while Copley wanted accurate likeness) Family interested in the arts (his family portrait in academic style) References to old influential people, ex: bust of West Pyramidal shape, order, stability Not Smybert, no committed gender presentation Family lineage of art 68. General George Washington Before Princeton ca. 1779 PAAcademy Fine Arts, 8 x 5 ft Tiny, oval head, but figure in command Sense of grandeur (=lifesize) Historically accurate Commemorates victories @ Trenton + Princeton GW oversaw defeat of Brits & drove them out *1. American Government Commission Hired by PA More portrait than history Calm, relaxed (meant 2 relax viewers) 69. Clouds: dark, smoke passing on, skies clearing Colonial elements add strength Various manmade details = items transformed America's win Contemporary event = in the moment Creates heros @ moment events happen (feels like document) Metaphor: rising American nationalism (flag shown), 4reignors lost Deco adds grandeur + color + drama in foreground Peale wants to make heros out of war Nation defines itself through these representatives Emphasis on self-made individual No sense of humility more individualistic Natural aristocrats ascended socially through hard work Get sense of importance/status 70. All else is simplified desire of accurate likeness *direct gazes, neutral backgrounds to emphasize making of hero less emphasis on material wealth Peale wants to exult Benjamin West Sees importance in museums invested in archives Wants to institutionalize American history through representation 71. The Staircase Group ca. 1795 Deliberate convo btwn viewer + art Deliberately individual Sons shown = celebration of art in the family Poignant work (Titian dies later): What's its purpose? Emphasis on vertical = look @ stairs Invitation to move into work Portrait + trompe L'oeil (fool the eye): 17th century Dutch Tromp L'oeil: witty, serious, offshoot of still-life Game artists play with viewer bridges convo btwn artist + viewer Peale asserts mastery over allusion Makes you aware of nature of painting (smart of Peale 2 have done) 72. Grain of wood emphasized, ticket on steps (=exhibition ticket) References moment work on exhibition = centerpiece Establishes museum in Philly, open to public 1801 collection moves to Independence Hall Not limited to art, but also liked technology Portrait artist, history painter, still-life? Excavation of mastodon; from experience comes work 1. archeological dig in US Generational element: showed moment cultural convo Broader issues btwn man + nature (how does it fit into Xtian narrative?) This dig possible through divine God, 73. The Artist in His Museum ca. 1822 9x6 ft, PAAcademy of Fine Arts Commissioned by board of trustees of museum Self-portrait w/ dramatic gesture of welcome shows museum Has palette + brushes + bone = references to himself Distinctly American = turkey in 4ground ex. of animal life in US Avid interest in science, art, + display Space/museum = democratic + intergenerational Dramatic + staid, looser brush on face + swag Light vs. dark, textures, movement + flow Welcomes us into space, directs us where to look 74. John Trumbull (1756-1843) Goes to Harvard, joins Army, drew maps IDs himself like Peale as having nat'nl importance Son of wealthy merchant/ CT governor 1778: rents Smybert's studio, later in London with West 1784 Wants to paint history, but can't do it in London b/c political reasons + West already there Neoclassicism: influence on West, Copley, Trumbull Based on ancient Greek + Roman sources Emphasize aesthetic + cultural ideas = direct reaction to Rococo Before Romanticism, coincides with Enlightenment 75. The Death of General Warren at the Battle of Bunker's Hill ca. 1784-86 76. Contemporary history work: big, noble ideas Trumbull saw this battle at a glance So dramatic/staged Ex: surging flag Here = authenticity bodies littered Drama shows stake here in battle (more carnage) Bodies strewn, variety of poses, lines veer off = chaos *Sublime element: dying for one's country Thing of greatness/ importance so big and massive Creates pleasurable terror in you Noble death gives sense of sublime Convo with West + Copley = not possible without their examples High moral value, Warren sacrificed himself *About America! Establishes national history = art with ideological purpose 77. Enlightenment Influence on Neoclassicism 1. Human affairs ruled by reason + common good not simply tradition/established rule 2. Activity @ foreground 3. Controlled brushwork = emphasis on contour 4. Rich, saturated, vibrant colors 5. About noble ideas = fits in w/ what America is + wants to be America crafting what it wants to be convo between American artists + David in France 6. Loss sense of informality staged quality 7. Set in ancient Greece/Rome 78. Declaration of Independence ca. 1818 79. 2 copies, 1 in Capitol, 1 at Yale Trumbull more comfortable on small scale Met TJ in Paris, gave him 1. hand info on what room looked like, though had partially forgotten In Independence Hall in Boston Documents important ceremony = 2nd Continental Congress (June 26th , 1776) Wanted meeting to have meaning Includes all big players (not wholly accurate) Creates vision of historical event 48/49 portraits in work, TJ in center = accurate likenesses = witnesses 2 event + tell viewer how to look at work Dramatic moment = signing of work 80. Tells us who's wichtig = propaganda Ppl coming together, conflict resolution Put aside individual desires for common good Tighter brushwork Repeated colors, balanced, equality Heads aligned, no surging dramatic lines Became gov't portrait painter in 1810 = lots $$ American Rev influenced how artists trained brought back more Euro styles Doesn't transform American culture overall Remnants of folk/home style Greater divide btwn home taught + those who studied 81. Roger Sherman ca. 1775 Ralph Earl from CT, self-taught, loyalist Roger Sherman = 1. mayor of New Haven, Founding Father = masterpiece of Earl, continues early American tradition Blunt quality little deco reminds of older works Neutral palette + background Awkward perspective Staunch patriot shown in his reserve Natural coloring; should be natural pose, but stiff Red drape = earlier, royal style No details that speak 2 wealth all about man + space 82. Itinerant limner style in bluntness of presentation Little embellishment, almost crude Though swag and red color echoed in clothes Obvious presentation viewer has full access Not much sophistication needed in part of viewer Lines + lighting reveal status of artist 83. Chief Justice and Mrs. Oliver Ellsworth ca 1792 84. Ralph Earl, 6x7 ft, in Wadsworth Collection, CT Gesture to grand manner taking hold in American art Land = center (almost its own portrait) Female dress speaks to status Proportions off chief has long torso Many facial details the face was the most important for Earl Rug + fringe = finery that speaks to sitter Gender norms: books behind him, nature close to her Sitting @ estate, looking @ estate = celebration of what they own Emphasis on outline + palette relying on local color nothing startling Modeling on face, but not much on body 85. The Westwood Children 1807 For a family, showed $$ Sons of John + Margaret John = stagecoach mnger Commissioned Shallow foreground + neutral lighting Neutral background forces kids at viewer feels awkward 86. Joshua Johnston (1763-1822) 1. African American to be established portrait painter 1796: gained freedom in Baltimore Modeling limited, anatomy limited Early itinerant limner tradition Flat background, flat use of color All have similar head + shape = composed individuals, but you're a part of the family Flat black dog pops out = silhouette feel Still life + portrait + landscape = demonstration of skill *associated with folk art, or nonacademic In 19th century, folk + intellectual art split wide open 87. Gilbert Stuart (1755-1828) Principle portraitist 1790s 1825 = FEDERAL PERIOD Apprenticed with Scottish portraitist 1775: Stuart meets West, stays 5 years there 1790s: moved back to US, Boston in 1805 *early style = colonial style Emphasis on line/linearity, figures stuck to canvas, froze in space Little knowledge of anatomy, direct gaze, neutral background Exposed to West and things change Adopts British style = looser brush, subtly in tones, concept of authority Only did portraits + traveled around 88. Side Notes Trumbull + Stuart push for nationalistic art to serve republic America still suspicious of art bc of its sensual quality Battle/push + pull affects fates of artists Fine, European art associated with aristocracy GS: invested in showing new kind of hero Thinks about American art as itself an independent style 89. The Skater ca. 1782 8x9 ft, @ National Gallery Gentlemanly, relaxed crossing of legs Sense of lean/tilt = sophisticated movement of body w/ variety of convincing details Invested in texture Brush so light whispy quality Feathery, monochromatic work Where is the viewer? Tilt to work figure tall, horizon line low Gives sense that part of scene but that he's above us = his importance Made w/ intent of showing @ Royal Academy, not for $ 90. Mrs. Richard Yates ca.1793 2.5 x 2 ft, National Gallery Standard portrait *tonal harmony: tans, browns, blacks Spotlight effect: light surrounds her, not even Loose brushwork of shawl, but not smooth application of paint About effect = make pretty to eye, not accurate likeness Renders sitters attractive Selects pose that downplays bad attributes No S-curves but through paint, color gives seriousness Gilbert Stuart 91. Well to do, but not aristocratic Sewing = female activity *immediacy of work through loose brushwork Doesn't look frozen Complexity in position of hand = delicacy w/ solid form *What will be the American art style of the New Republic? Desire to create independent art ID up until 1945 Push/pull with Europe Limners more American Not touched by Euro influence Wrestling with European undercurrent 92. Gilbert Stuart GW Studies Best known for his works of GW Goes to Philly Vaughn-type: more of right side Antenaeum-type: more of left side GS softened likeness sense of directness Exchange between viewer + subject Not about accuracy, but about conveying hero Once you solidify icons, no longer about documentation 93. The Lansdowne Portrait ca. 1796 8x6 ft, commissioned by Lord Lansdowne Of GW giving farewell address Associated with column = stability, strength Black dress gives attn to face = seriousness of purpose Gesture of welcome + farewell (thought + reason = Enlightenment ideas) Rainbow = hope, fortune, passing of storm Next 2 table suggested weighted importance Cloth: regal, dramatic quality 94. In regular clothes: humility Sword: gesture to time as general Successful not thru violence but thru thought + reason Quintessential aristocratic portrait of new republic, but not aristocratically shown Dramatic use of color = stateliness 95. Sarah Morton ca. 1802 2x2.5 ft Sarah = poet, wife of politician GS adjusts style to get personality of sitter Released her from linearity defining colonial style energetic quality E around painting, invested in light + dark, no hard edges Subtle toning harmony Where is she? In heaven? Flattering, accurate likeness Sad quality + immediacy (quick brush) Subtly of shading: about paint, not drawing Thickness of paint not smooth 96. John Vanderlyn (1775-1825) Wants grand manner of painting Art that was associated with aristocracy on the defensive Artists don't want to hold to European ideals they just broke from How do you adapt? Evolve? *Leads to American High Manner! Von NY, family invested in his art training: read + copied engraving American high art developing in communities + small circles Goes to France for education: *1. Ami to study in France Bc of Burr and his political ideas, doesn't like GB 97. France ca. 1800 = Neoclassical style 1. Emphasis on Line 2.Action pushed to Frontal plane little in background 3.Sentiment on high ideals (truth, honor, justice pull from classical sources) 4.Emphasis on anatomy what Vanderlyn takes away Vanderlyn becomes supreme draftsman: good @ balance learns from David, realizes doesn't want to be portrait painter Heard this with Copley wants to do more, but Amis have little interest in such works Does what Copley did: history painting on recent event + includes Americans *Looks to recent history, then to Roman hist. Then to the nude 98. The Murder of Jane McCrea, ca. 1804 2x3 ft, NEOCLASSICAL Native amis + woman framed against frontal plane Directs eye to narrative Trees + woods = dark, makes scene pop Man in back posed to action *based on poem by Joel Barlow Spent time in France until 1805, diplomat, patriot Had dreams of grandeur, poem: The Columbian Glorifies America & her progress von discovery to reovlution 99. Barlow underwent religious conversion from Xtianity to atheism Retells Ami founding w/o religion, includes science Wanted poem to be Ami project, also thru illustration Based on real murder in 1777 Her fiance = loyalist We're given drama, amped by race + gender She = double victim: white woman attacked by racial men Hints to this thru bodice of chest = sexual threat Unforgiving, animalistic native ami face = departure von earlier works Emphasis on musculature Blue = innoncense, red = impending bloodshed Men have rich colors = symbolism (red = Brits) Man has blue coat = representative of Patriots 100. According to poem, Brits paid Native Americans to suppress colonial population Work + poem = ANTI BRITISH Propaganda (like all history works) uses gender + race She's also a maiden Shows in Salon of 1804 hosted by Louvre = big deal Lots of drama, but controlled In French Grand Style Presents honor, pure emotion, containment of emotion overall controlled Lighting everywhere on her body: emphasis on muscles threatening her Louisiana Purchase: indians stand in way of progression justifies more aggressive policies, slowly vanish in Ami art 101. Ariadne Asleep on the Island of Naxos ca. 1814 102. Vanderlyn solidifies role as neoclassical artist Likes dramatic foregrounds with neutral background = seriousness Invested in research == wants authoritative feel to works Work shown @ Salon of 1814 Work = reworked Greek myth narrative Ariadne = daughter of Minos, left by Thessius *Theme of abandonment Nude study: adopts from classical sources so he can do one Pose becomes trope in art 103. Action @ picture plane, lush red = drama Line + form = 3D; modeling + shading Not liked by Ami audience appreciate technical ability, but why select subject not related to America or her ideals? Must be educated to understand (rules out mercantile class) Work has neoclassical tradition Goes back to US and brings art to masses Builds gallery = the Rotunda behind City Hall in NY *Vanderlyn's career shows frustration of artist trying to transplant European culture in America can it be done or must there be a process of adaptation