Exam 1
- Artist, Title, Date & Stylistic Era Charlestown Stonecutter, Joseph Tapping Stone, Boston-Massachusetts, 1678, 17th Century Colonial Sculpture - Important Aspects //Anonymous person, working out of one of the major stonemason companies //Amateur's when it comes to tombstones //Works came from Pattern Books - Symbolism: //Latin Writing, Skulls, Hourglasses //Leaves: To show organic material. Classical References. Signify Temporal & Death/Resurrection //Skull w/ Wings: Common Motif. Death and Resurrection //Hourglass: Reference that time is fleeting //Inscription: Fugit Hora (fleeting hours). Memento Mori (series of images) - Central Passage //Globe: Cartographic Representation //Candle emerging from Globe: Life on Earth //Figure of Death (Skeleton): Has a Spear/Arrow and takes people. Ready to snuff out candle. Represents that times leads to death.
Artist, Title, Date & Stylistic Era, Important Aspects, Symbolism
- Artist, Title, Date, Stylistic Era Anonymous, Dr. John Clark, 1664, 17th Century Colonial Painting - Important Aspects //John Clark went to Colonies to avoid a sentence. //Earliest of Baptist, also a Doctor and a Minister //Firebrand Preacher (Founder of Rhode Island Colony) - Symbolism //Skull: (Dutch Style) Represents Venita (showing temporal). Memento Mori (time is fleeting) //Elizabethan Style: Elaborate Textiles and Work //Pragmatic Gaze: Equal in Gods Eyes //Baroque Style: reflected the hierarchical and patriarchal society of the time. Idealize the figures vivid colors
Artist, Title, Date & Stylistic Era, Important Aspects, Symbolism
- Artist, Title, Date, Stylistic Era Freake Limner, Elizabeth Freake and Baby Mary, 1671-74, 17th Century Colonial Painting - Important Aspects //Pendant Portrait: a portrait that is usually made with two people. //Wife shown as husband wanted her to be seen. //This work changed as the family progressed hence why the baby seems rushed //Limner: Line-Making. This work is especially shown in the embroidery of the clothing. Freake Limner: No actual name, identified under the Freake Family - Symbolism //Pragmatic Gaze: Equal in Gods Eye. A Calvinistic Idea. //Chair: Expensive import from Turkey. Shows she has expensive taste.
Artist, Title, Date & Stylistic Era, Important Aspects, Symbolism
- Artist, Title, Date, Stylistic Era John Foster, The Reverend Richard Mather, 1670, 17th Century Colonial Wood Cut - Important Aspects John Foster: Trained as a printer and worked on pamphlet and leaflet works. Reverend Richard Mather: Early Advocates of Congressionalist. Nucleus of Early Colonies. Seen as most educated person in the area. Knows the bible, understood history and theology of church, and could read Greek well. //Taxes went to building houses for parsons/reverends. //Trained John Foster to represent Mather in the community - Symbolism //Puritan Style: Humility & Reserve //Pragmatic Gaze: Equal in God's Eye //Glasses to show academic training/scholar //Created an emblem of Richard Mather //Tilting, simple black robe, lace at wrist, skull cap. //Not a wealthy robe; but an academic
Artist, Title, Date & Stylistic Era, Important Aspects, Symbolism
- Artist, Title, Date, Stylistic Era Thomas Smith, Self-Portrait, 1690, 17th Century Colonial Painting - Important Aspects //Background of Thomas Smith: Smith dies around 1691. 70 years old. Self-portrait to represent a memorial of himself. Summation of his life. //Served in the British Navy. Was a trader, merchant, and maritime trader. - Symbolism Godfrey Kneller: Chief core painter to the King of England, very Baroque and very lifelike focus on his figures. //Inky, black background. Tassel hanging off the curtain. //Pragmatic Gaze: Equal in Gods Eye //Following Calvin's Principles: Showing you exactly as you are as God created you - Objects: //Red Velvet Chair, Curtain Table, Skull, Letter on Table. //Memento Mori: Dutch Style Painting, Time is Fleeting (represents Thomas Smith himself) //Last Testament: Testament in Faith. Not sad to leave this world. Belief in God's word of death. //The Window: Gives a sense of what is going on. A battle going on. (Flag in Sea) Dutch Flag and English Ships. (Fortification) Crescent Flag of Ottoman Empire) //Barbary Coast: Under the sway of the Ottoman, send out Pirates. English and Dutch viewed up together and won.
Artist, Title, Date & Stylistic Era, Important Aspects, Symbolism
Artist, Title, Date, Stylistic John Singleton Copley, Henry Pelham (Boy w/a Squirrel), 1765, 18th Century Colonial Painting Important Aspects //Copley sent on the grand tour //1770, start to see bulk of his works //Society of artist happening in London, West influenced Copley to submit a work //Wanted to show what he was capable of. beginning to working in other aspects of still-life //After Exhibition: Gets letter from Joshua Reynolds, gives short praise of the painting, very neat and great, a little to porcelain Symbolism //Youthful lad. Cartilage in ear //Follow the same puritan, colonial portraits. Show someone in a snap-shot moment. matching portrait-style in London. //Poetic Reverie //Keeping with Baroque style, engage viewer as a participant //Showing mastery in reflective work //Keeping with Baroque style, engage viewer as a participant //Shows mastery in reflective surfaces //Water, to show distortion //Native squirrel from US
Artist, Title, Date & Stylistic Era, Important Aspects, Symbolism
Artist, Title, Date, Stylistic John Singleton Copley, Mrs. Thomas Boylston, 1766, 18th Century Colonial Painting Important Aspects //Family was merchant and trader and notorious for slave trade //Shows his wife in mourning Symbolism //Born in late 1600's, raised within that spectrum as clothing represents that //Starched white collar //Relatable, pragmatic gaze //Individualized portrait //70 years old, all of the typical puritan representation -- bonnet, reserve, silk, lace -- face has no favors done to her -- direct, pragmatic gaze
Artist, Title, Date & Stylistic Era, Important Aspects, Symbolism
Artist, Title, Date, Stylistic Ara Benjamin West, Death on a Pale Horse (The opening of the First Five Seals), 1817, Federal Painting (Grand Manner Style) Important Aspects //Largest of his paintings. //West is moving into more grand biblical narratives //Comes out of Revelations Conflict (Imagery) End of Revelations - Revelations 6: Look up at Image of Christ with scroll of 7 seals Symbolism //Sublime and Beatifical. //Death Emerges (White Horse) (lightning and serpents on hands) //Person holding Scales; representation of famine //Red Horse, lifting giant saber; representation of War. //White Horse (carrying a bow) -- Pestilence (Bow) -- Representation of Christ //Humans fighting with one another //Families torn apart //See people suffering from famine and disease //SUFFERING OF MANKIND //Serpent of head crushed by stone: Christ crushing head of devil.
Artist, Title, Date & Stylistic Era, Important Aspects, Symbolism
Artist, Title, Date, Stylistic Era Benjamin West, Agrippina Landing at Brundisium with the Ashes of Germanicus, 1767, Federal Era (Grand Manner Style) Important Aspects Benjamin West: //Studied archeological structure //Utilizing new architectural discoveries; using it from a location where this actually did not occur. Aspects of Work //Major Conflict; French, constant power and authority for the New World //Era of Napoleon during this century //Ancient work that could be utilized to have a more modern meaning //Germanicus; popular with his soldier. Tiberius threw a coup d'état; poisons drink and Germanicus passes //Ara Paces: alter of peace, time of Roman peace Symbolism //Much more fluid and Grand Manner status, storytelling //Incredible crispness, blurry background, and centers to what is happening //Very good classical accuracy //Beloved individual passing form a tyrant
Artist, Title, Date & Stylistic Era, Important Aspects, Symbolism
Artist, Title, Date, Stylistic Era Benjamin West, The Death of General Wolfe, 1771, Federal Era (Grand Manner Style) Important Aspects //Great masterworks //Centers on events of September 1758; French and Indian Wars, 12 years earlier. Idea was to show losses of British French, showing sacrifices made lead to great British Victories. Amplifying British dominance //Batt of Quebec or Battle of the Plains of Abraham //Scene was orchestrated and taken out to a T. //Wolfe was instrumental and planned out the attack Symbolism //Contemporary Image //Wolfe dies at the culmination of battle; idealized propaganda //Grenadier; most powerful person on battlefield begging for General's life //Green Jacket: Scouts Coat
Artist, Title, Date & Stylistic Era, Important Aspects, Symbolism
Artist, Title, Date, Stylistic Era Charles Willson Peale, Benjamin Franklin, 1789, 18th Century Colonial Painting Important Aspects //Not very good friends of Benjamin Benjamin Franklin //Signature Founding Father Figure; printer, scientist, writer, literary figure //Electrical occurrence; discovered electrical energy Aspects //Philosophical Society //Franklin is too sick to site for a portrait, chose early studies of Franklin //No favors done to him; double chin, receding hairline, etc. //More of an emblem for ideas of nation Symbolism //Shown as international force //Writing to prove his theory on destruction of lightning and discharge of it //Shown as a man of though and intelligence
Artist, Title, Date & Stylistic Era, Important Aspects, Symbolism
Artist, Title, Date, Stylistic Era Charles Willson Peale, George Washington at Princeton, 1779, 18th Century Colonial Painting Important Aspects //Was sort of a failure work for Charles //Trying to ramp up a historical piece George Washington //British began to hire mercenaries, hired hessian troops //Crosses Delaware river, plans for a sneak attack. Around Christmas time, sunset is about 4:40pm //Unintended weather, so the British was done in darkness and snowstorm //Successful Work itself //8 feet in height //Wanted an emblem of Washington to show their successes //Capture of all of the well known military exploits //Showing summation of New Jersey campaign //Received dramatic amounts of criticism; supposed to be a person of battle, not casual Symbolism //Much detailed //Greater sense of pragmatism //Standard coloration, epaulettes (fringes coming off shoulder), blue satin sash, navy overcoat //Thick, smoky clouds; opening of skies towards the left //Sublime and Beautiful
Artist, Title, Date & Stylistic Era, Important Aspects, Symbolism
Artist, Title, Date, Stylistic Era Charles Willson Peale, Mrs. James Smith and Grandson, 1776, 18th Century Colonial Painting Important Aspect //Stabilizing aspect of her grandson //Maternal figure //States out at us in warmth/companionship //Juxtaposition of youth vs. age; showing that she is passing down wisdom to grandchild Symbolism //Amplifying passage of values //Generational Passage; passing on the ideals of the nation //Book: The Art of Speaking -- Title: Shakespeare Soliloquy; "to be or not to be" //It is family that will define the nation
Artist, Title, Date & Stylistic Era, Important Aspects, Symbolism
Artist, Title, Date, Stylistic Era Charles Willson Peale, Rachel Weeping, 1722 (1776,1818), 18th Century Colonial Painting Important Aspects //Form of grief, 1st steps into artistic showmanship //Gallery, curtain covered painting -- Show that he knows how to play with audience -- Great showmanship Rachel: //Documented Margaret in her deathbed //Rachel positioned weeping and questioning god on why he would take her daughter //Show family intimacy and sense of loss //Addition of bottles; light and refraction Symbolism //Small scale and horizonal. Rachel was not originally in it //Paleness of her face
Artist, Title, Date & Stylistic Era, Important Aspects, Symbolism
Artist, Title, Date, Stylistic Era Charles Willson Peale, The Artist in his Museum, 1822, 18th Century Colonial Painting Important Aspects //Summation of his life //Shows his legacy will be for future generations //Takes great care to show Native American artifacts //Stands in the center; shows pragmatism //Defining who he is //240 political portraits //Incredible depth to what he is doing //3 Groups of People: all engage in the work. Not just by yourself, but with other Americans. Establishment of American Culture. Middle class and Upper class. Guy in top-hat passing knowledge to the son. //Women holding her hands up looking at the Mastodon. Lower class garments //Place for any socioeconomic status Symbolism //One of the most didactic images that he has had, emblematic //Simple black suit, reserve //Pragmatic humility //Empiricism //Turkey: Symbol of the Nation.
Artist, Title, Date & Stylistic Era, Important Aspects, Symbolism
Artist, Title, Date, Stylistic Era Charles Willson Peale, The Peale Family, 1773 and 1808, 18th Century Colonial Painting Important Aspects //Reworked many of his paintings. Fixed anatomical and photographic realism. //Added to his works, adds a sense that you are here and empirical. People: //Commemorate the family, memorialize daughter (passed of smallpox) //Mary Jane Palmer (Left Top) Leans on Peele //Peele: Watching younger brother doing a drawing. Giving advice on the work. //Saint George Peele (Sitting) taking advice from Peele //James: Brother of Peele, still life and miniature painter, revolutionary war hero. Playing with his niece. //Margaret (Center) (Passes Away) //Older Daughter (Eleanor) //Margaret (Mother): Matriarch to the family //Family Servant (Peggy): against British painting to have prominence. Shows pragmatism Symbolism //4 1/2 feet wide //Shows love for his family //Very pragmatic, subtle elongation //Seated at the table with the family, very inciting, very warm, very welcoming //Concordia Anime: repose with one another, everything is in harmony and joy //Silk handkerchief: Inviting us a a participant.
Artist, Title, Date & Stylistic Era, Important Aspects, Symbolism
Artist, Title, Date, Stylistic Era Charles Willson Peale, The Staircase Group, 1795, 18th Century Colonial Painting Important Aspects Raffaele Peale: Sill life painter Titian Peale: 14-15 years old //Trompe L'oeil: Trick of the Eye //Environment and use of light sources //Painted specifically for an exhibition //Mahl Stick: small stick with little bag of sand; show that Raffaele. Symbolism //Created another wooden stair; gives an illusion that it is a spiral staircase
Artist, Title, Date & Stylistic Era, Important Aspects, Symbolism
Artist, Title, Date, Stylistic Era Gerardus Duyknick, John van Cortlandt, 1731, 18th Century Colonial Painting Important Aspects Duyknick: Drew for Dutch Farmers and known as a Patrune (Dutch equivalent of planation) //Utilizing print and models from pattern books John van Cortlandt: Push away from from more Didactic Style. //Had a pet deer Symbolism: //After Sir Godfrey Kneeler, Lord Buckhurst and Lady Sackville, 1715-25 --Mezzotint: Middle Tone --Based on standard copper plating. --Shows 2 people and with a deer --Gerardus copied from this, especially the pose of the brother //Attempts at Kierescaro //Unrealistic to the Colonial Environment (carved step stone, building with stones and pillars, etc.)
Artist, Title, Date & Stylistic Era, Important Aspects, Symbolism
Artist, Title, Date, Stylistic Era Gilbert Stuart, George Washington (The Lansdown Portrait), 1796, Federal Era (Grand Manner Style) Important Aspects //Athenaeum Head and full stock body; replicates some of the bodies and backgrounds //Juxtaposed between two paintings Symbolism Louis the 4th, 1702 - Divine right of the throne - Choice of god himself - May intended as a version of this painting as a reference from Gilbert Stuart //Military Figure to Statesman //Amplifying Humility and Pragmatism //Dress Sword: Blade is sheathed. No longer general. Sheathing sword amplifies peace //Gesture: Oration Pose: For the populous and to the populace //Baroque Opulence (Curtains) //Sublime vs. Beautiful (Environment Outside) //Rainbow: Idea of Covenant with God in New World //Inkwell: Made of silver, one of his prize possessions //Dog: Symbol of Faithfulness and Fraternity //Series of Books: - Red Binding (Journal of Congress) - Smaller Book (Federalist Papers) John Jay, James Madison, Alexander Hamilton writes letters to shows a means of accepting the constitutions - Order of American Revolution (Below Table); Shows how the war was done - Copy of Constitution (Below Table) - Eagle: Symbolism of the nation
Artist, Title, Date & Stylistic Era, Important Aspects, Symbolism
Artist, Title, Date, Stylistic Era Gilbert Stuart, John Adams, 1826,
Artist, Title, Date & Stylistic Era, Important Aspects, Symbolism
Artist, Title, Date, Stylistic Era Gilbert Stuart, Mrs. Richard Yates, 1793-94, Federal Era (Grand Manner Style) Important Aspects //Was put off by Mrs. Richard Yates Symbolism //Pragmatic Realism in America is the focus //Looseness in everything besides the skin and body //Pulls a thread through //Shows she has a shrewd mind
Artist, Title, Date & Stylistic Era, Important Aspects, Symbolism
Artist, Title, Date, Stylistic Era Gilbert Stuart, The Skater (William Grant), 1782, Federal Era (Grand Manner Style) Important Aspects //Trying to create more and more psychological affect rather than psychical //Ice Skating was seen as a gentleman's sport //Groundbreaking, new focus on sportsman Symbolism //Amplifying what kind of a man William Grant is. - Ice Skating: Man of Culture - Man of athletic attributes //Amplifying psychology of man. Arms folds with reserve and dignity //Dressed in gray, black, and white. Focus on reserve //Focus on his psychological disposition and melancholic - 4 Humors: 4 fluids in the body dictated your psychology. Phlegm, Blood, Black Bile, and Yellow Bile - Black Bile: amplifying melancholic mood. Philosophical approach to individuals. Deep thought; could lead to depression or great acts. //Utilized Apollo of Belvedere
Artist, Title, Date & Stylistic Era, Important Aspects, Symbolism
Artist, Title, Date, Stylistic Era Gilbert Stuart, Thomas Jefferson (The Medallion Portrait), 1805, Federal Era (Grand Manner Style) Important Aspects //Classicism: Revival of Modern World //Pragmatism: Shown exactly as he is
Artist, Title, Date & Stylistic Era, Important Aspects, Symbolism
Artist, Title, Date, Stylistic Era John Singleton Copley, John Adams, 1783, 18th Century Colonial Painting Important Aspects //Good friends with John Adams //Copley invites him into studio to support the treaty //Stayed in Copley's family for 20 years before giving to the Adams family John Adams //After Revolutionary War Adams became an ambassador Symbolism //Life Size //Aggrandize Apartment //Adam is shown as dignitary and ambassador //In reserved clothing, velvet coat, gold button, silk stockings //Sword sheathed; to amplify this was a time of peace //Pragmatic Gaze; points at the map, to show at the American location //Statue: figure of peace, neoclassical crowned with -- Laurel: Common symbol of victory -- Olive Branch: Peace -- Lowered Flaming Torch: Rage, Violence
Artist, Title, Date & Stylistic Era, Important Aspects, Symbolism
Artist, Title, Date, Stylistic Era John Singleton Copley, John Hancock, 1765, 18th Century Colonial Painting Important Aspects //The two were close John Hancock //Opposite of Sparhawk //Known as King Hancock, one of wealthier playboys, Rags to Riches story //Born into a large family, father dies when he was young //Has a very wealthy uncle, handpicked by uncle to patronage //Hancock becomes focused on aggrandizing himself to populous //Rode around in bright, canary carriage Symbolism //Wants to be shown with seriousness and reserve //Not put in opulent setting; blue wool suit, not line with gold, but simple yellow //Being shown as a conscious businessman //Sitting in a lacker, simple chair with a ledgerbook //Casual pose, but a mon lost in thoughts
Artist, Title, Date & Stylistic Era, Important Aspects, Symbolism
Artist, Title, Date, Stylistic Era John Singleton Copley, Paul Revere, 1769, 18th Century Colonial Painting Important Aspects //This was not Paul Revere, this was Paul Revere before the Revolutionary War Hero, Boston Tea Party, and Midnight Ride //Not yet involved in politics; inherited father's silversmith studio. Tried to bring it into a more modern idealistic //Not wealthy enough to afford this painting. Was more of a colonial barter. //Used this painting as an advertisement Symbolism //Silver teapot, most luxurious to show wealth and status //Inky, black background, reference to baroque style //Counter of his shop, reflective. Shows tools of interest //Displaying work and work ethic //No overcoat or cravat, shows him in his short sleeves, not posing for portraits but work //Pragmatism //Direct, unflinching gaze //Pineapple on top of teapot; symbolism of hospitality
Artist, Title, Date & Stylistic Era, Important Aspects, Symbolism
Artist, Title, Date, Stylistic Era John Singleton Copley, Samuel Adams, 1770-72, 18th Century Colonial Painting Important Aspects //Story-telling portrait. 1st step into history painting //Documenting a major event. Commissioned by John Hancock //Boston Massacre: Troop of British soldiers defending custom houses in Boston, Take pot-shots at British soldiers. British opening fire --Adams goes into archives and judicial orders and confronts royal governor //Copley isn't very supportive of the colonial view, but supports the King Samuel Adams //Incredibly important figure in revolutionary politics. Went to become 2nd president. //Working through discussion and legal channels. //Merchant and politician //Represented the will of people Symbolism //Shows figure passionately defending figure of colonist //Incredible detail in the seal and the charter //Adam focuses us on the judicial orders and archives //Shown very preserved, serious about politics //Double chin, pursed lips, intense eyes //Giving fulfillment of Hancock wishes
Artist, Title, Date & Stylistic Era, Important Aspects, Symbolism
Artist, Title, Date, Stylistic Era John Singleton Copley, Watson and the Shark, 1778, 18th Century Colonial Painting Important Aspects //One of Copley's celebrated works //Done for high end patron, Brooke Watson Brooke Watson: //Merchant elite, mid-40s, very wealthy //Wanted Copley to paint an image of salvation for himself into something about personal resurrections. Kept in orphanage and is adopted by Uncle. //Does a lot of trading in the Caribbean History of Painting: //Brooke wants to take a little dry into the harbor while naked, the waters are shark-infested. Shark clamps down onto Brooke's legs //Watson is bobbing in the water with a severed limb. Rescued and believes he is spared for a purpose. //Turns his life around and participates in Merchant Trade Symbolism //Believed it was painted as a political allegory; although Copley is a supporter of the King. Showing the defeat of Britain. Watson is represented as Britain //Sublime (Christ Judgement): Thunderstorm //Beautiful (Christ Forgiveness): Mountains //Lightning: To represent Christ's presence //Cruciform Shaped Things: Death and resurrection of Christ //African Person: Weren't shown in subservient roles at the time. Makes him almost centerpiece of the work Important Aspects of Painting //Everyone shows different psychological effects //Copley has never seen a shark before. Attempts to utilize model books to represent a shark //Sharks are represented of bodies of evil //Watson is taken from Renaissance Style painting. From Raffaele's transfiguration
Artist, Title, Date & Stylistic Era, Important Aspects, Symbolism
Artist, Title, Date, Stylistic Era John Smibert, Major General Paul Mascarene, 1729, 18th Century Colonial Painting Important Aspects //Utilized old amour pictures General Paul Mascarene: //Huguenots: Chief Protosant Groups //Edict of Nonets: Preserved Protosant Rights. Loui revokes it. //Mascarene trains as a British soldier and brought to position of General //Lays out a huge siege of Port Royal, leads the siege and brings down the French //Ordered construction of fortifications //Summation of his life Symbolism //Near full size figure positioned next to a window //Refraction of lighting //Gesture and Gaze //Didactic Teaching of his life. Actually use a single point perspective -- Fortifications on entry point -- Pride of Survey of Nova Scotia -- Outside: Fortification, Land Survey, and Engineering //Facial Features of Golden Baroque Style //Not a pragmatic gaze, but aloofness //Late 17th century armor.
Artist, Title, Date & Stylistic Era, Important Aspects, Symbolism
Artist, Title, Date, Stylistic Era John Smibert, The Bermuda Group, 1729, 18th Century Colonial Painting Important Aspects: John Smibert: Brough true academic style of painting. //Very successful, went on Grant Tour //Develops Baroque techniques //Founds studio in Boston People: Dean George Berkeley (Right): Came out of Divinity Training. major Force in the Protosant Theology. Argued that the New World was for a better theological approach //Awaits funding from the Parliament; refuses to provide resources //Amplifies Calvinistic Theology Wife Ana of Berkeley and Baby: Baby holds fruit which represents the Christ Child. Reference the garden of Eden Miss Hancock: Would always travel with a traveling companion Above Ana (John James), Middle of 3 Men (Unknown) Richard Wainwright (Red Clothing): Financier of Bermuda Group //Commissioned the Painting //Mercantile Figure, Rich Brown Velvet. Looks up at awe at Berkeley. //From Left (Smibert): Looking at you, a way of identification. Direct connection. Symbolism: //Focused on single, didactic, portraits //Created the use of fabric and environment, guiding viewers eye //Columns to show aesthetic //Background is unrealistic; more aligned with rocky cliffs of England //Women were depicted to a feminine archetype
Artist, Title, Date & Stylistic Era, Important Aspects, Symbolism
Artist, Title, Date, Stylistic Era John Trumbull, General George Washington at the Battle of Trenton, 1792, Federal Era (Grand Manner Style) Important Aspects //Painted Washington's 1st term as president, but was painted as a statesman and diplomat. //After a momentous even from coming through a storm and sneak attack on Henshin's and British //One of his most celebrated works Symbolism //Creates a much more dramatic battlefield: smoke, flames, member of continental army marching into battle //Fluid brushstrokes, jewel like colors //Washington is calm within storm. Horse represents his ferocity //Classical Greek Model: Apollo of the Belvedere; shows Apollo standing with a quiver of arrows at his back, preparing to shoot.
Artist, Title, Date & Stylistic Era, Important Aspects, Symbolism
Artist, Title, Date, Stylistic Era John Trumbull, The Declaration of Independence (July 4, 1776), 1787-1820, Federal Era (Grand Manner Style) Important Aspects //Worked on over periods of decades //Paints these as preparatory images. Attempts at Historical accuracy. //Comes from Adams and Jefferson's explanation of the event. //Meeting of Continental Congress that leads to the Declaration of Independence //Fairly accurate to Independence Hall //Establishment of Independence of Revolutionaries People: //Adams had become the ambassador of England //56 delegates, 48 arrived, painted 48. Paints 36 that were still living. 12 he couldn't find a workaround, many of them passed. Relied on previous portraits or painted portraits of man's son. //Sitting at Table: Alexander Hamilton (President of Congress) //5 who worked on the draft - Left (Joh Adams); simple brown suit, pragmatism - Center (Jefferson); red waistcoat - Right (Franklin) - Back Left (Sherman); signs every founding document - Back Right (Robert Livingston) - Alexander Hamilton Symbolism //Baroque Style //Pragmatism and Humility; curtains to give more magisterial effect //Trophies of War; to show British Hessian flags as token of war. Amplify sacrifice that has been make to make the nation
Artist, Title, Date & Stylistic Era, Important Aspects, Symbolism
Artist, Title, Date, Stylistic Era Joseph Blackburn, Isaac Winslow and His Family, 1755, 18th Century Colonial Painting Important Aspects //His style is influential //Comes to East Coast, Rhode Island and Boston //Ushering more of a Rococo style than Baroque People //Lucy Waldo //Hannah, Lucy //Lucy is how Isaac Winslow wanted depicted //Lucy brings in fruit, to show man of land (not just business) showing bounty of land Symbolism //Rococo: Wish fulfillment. Romantic, enclosed landscape. Aren't shown as they actually were //Pragmatism of the face (double-chin) //Suit of all one color; waistcoat, coat pulled back, shows wealth //Gesture and Gaze, more casual (aspect of Rococo), starting out at us //Pastel coloration, porcelain style faces Background: //Wish fulfillment (fantasy) //Creating a fantastical garden setting, enclosed world //Rod iron gates, little lake, two swans (symbolizing love) //Enclosed
Artist, Title, Date & Stylistic Era, Important Aspects, Symbolism
Artist, Title, Date, Stylistic Era Peter Pelham, The Reverend Cotton Mather, 1728, 18th Century Colonial Painting Important Aspects: Cotton Mather: Raised to the most prominent Congregationalist position //Great deal of academic prowess in Mezzotint Style //Mezzotint focused on more photorealistic sensibility Symbolism: //Promote fidelity teachings of Cotton Mather //More scholarly robe, starched white collar coming as well //Baroque aesthetic //Showing every detail of the face, every jowel, every crease of the forehead, and showing aloofness (not a pragmatic gaze)
Artist, Title, Date & Stylistic Era, Important Aspects, Symbolism
Artist, Title, Date, Stylistic Era Robert Feke, Brigadier General Samuel Waldo, 1748, 18th Century Colonial Painting Important Aspects //Smibert handled 3 of portraits, got sick, and diverted patronage to Feke //Have to make a painting to work alongside Smibert's work. Brigadier General Samuel Waldo: //Elevated to General, fought with 4 other merchants //Goes up in fights in Louisburg, instrumental in bringing a win to British //Overlooking the port //1745 (lead up to the American Revolution), attempt to expand British dominance in Colonial World, 1st Waves of French and Indian Wars //Waldo was a major landscaper, became very wealthy in doing so Symbolism //Baroque Style, Didactic Style //Elevated Waldo to Cultural Hero //Intricacy of Gold Embroidery, Limner Style //Shows girth of his belly. Well-off Objects //Horsehair wig, in the exact same pose as Isaac Royall (Isaac Royall and Family)
Artist, Title, Date & Stylistic Era, Important Aspects, Symbolism
Artist, Title, Date, Stylistic Era Robert Feke, Isaac Royall and His Family, 1741, 18th Century Colonial Painting Important Aspects //Not a professionally trained artist Isaac Royall: //Father had a huge commitment to the slave trade //Isaac Royall adopts this business. Shown as a patriarch. //Royall is a merchant, very wealthy and influential Wife: Elizabeth, Daughter: Elizabeth Mary Palmer and Penelope Symbolism //Drawing from the Bermuda Group (John Smibert) //Plain pragmatic sensibility -- Red links to Rugs and Dress -- Velvet defining wealth //Pose: -- Shows belly -- Pulls back coat to show embroidery -- Ideal of a wealthy individual -- Book in hand; shows he is an academic //Face -- More direct gaze -- Feke was able to blend influences of other artist //Gesture and Gaze //Follows the same concepts of feminine infrastructure as Smibert
Artist, Title, Date & Stylistic Era, Important Aspects, Symbolism
- Fleeing European Area to the US - Catholic Movements - Some Degree of Religious Freedom - Introduction of of Pragmatism & Pilgrim Style of Art - Calvinism: Argued sense of brotherhood and priesthood
Colonial Era
The Grand Manner Style (History Painting) - Height of hierarchy of painting. - There is hierarchical movement form different subjects of painting - Transcribing exactly what you see in front of you - Lowest; still life painting - Next Level; landscape painting, still-life outdoors, bit more complex - Portraiture; landscape and still-life, artist document life of the person - Highest; Grand Manner/History Painting, combining all lower forms and painting expressions. Take all observations and make it convey a narrative
Federal Era
