Hartwell Memorial Window by Tiffany

Tiffany Studios (1902–32, American Manufacturer), Agnes F. Northrop (American Artist – 1857–1953, Designer), Louis Comfort Tiffany (American Artist – 1848-1933, Manufacturer)
Hartwell Memorial Window (Detail), 1917, Leaded glass, 798.7 × 554.7 × 42.5 cm, the Art Institute of Chicago, USA https://www.smithsonianmag.com/smart-news/after-100-years-obscurity-brilliant-tiffany-stained-glass-window-shine-chicago-180977850/

The stained glass artist for Tiffany Studios, Agnes Northrop, was at the height of her power in 1917 when she designed the dazzling Hartwell Memorial Window by Tiffany, dramatically backlit to mimic sunlight flooding through, creating a kaleidoscope of color. As head of a group called “The Tiffany Girls,” she created some of Tiffany’s most memorable windows and was the first at the preeminent studio to execute landscapes and gardens in stained glass. She was a true virtuoso in what was referred to at the time as painting in glass. https://classicchicagomagazine.com/tag/hartwell-memorial-window/

Agnes Northrop was one of Louis Comfort Tiffany’s most trusted designers and a member of the famous Tiffany Girls. The great Master did not work alone. “Tiffany” designed artworks that were high in demand, and he employed hundreds of artists and artisans. Amongst them are the Tiffany Girls, entrusted with some of the most complex design work in Tiffany’s studios, including window and lamp design, glass selection, and glass cutting. Interestingly, Tiffany thought a woman’s sense of color and the nimbleness of her fingers to be superior to a man’s and entrusted his female designers with this essential part of making his windows. https://driehausmuseum.org/blog/view/from-the-collection-landscape-by-agnes-northrop

Agnes Northrop, American Glass Artist, 1857-1953
https://www.wikidata.org/wiki/Q102156729

Agnes Northrop was born in Flushing, Queens, in 1857 and died in 1953 in the Gramercy Park Hotel in Manhattan at age 96. She was most likely introduced to Tiffany in the late 1880s and by the 1890s had, according to Alice Cooney Frelinghuysen (Curator of American Decorative Arts at the Metropolitan Museum of Art),  forged an independent role for herself within the studio. https://americanart.si.edu/blog/eye-level/2016/27/305/glass-gardens-agnes-northrop-designs-louis-c-tiffany

Among the first six designers hired by the company, as early as the 1880s, Northrop’s talent was recognized by Tiffany, who entrusted her to design the company’s famous stained glass windows. She was also one of the few women actually given credit for work in exhibitions and catalogs. She was known for her talent in composing floral scenes and was given the prestige of a private studio in Tiffany Studios’ Fourth Avenue building. https://driehausmuseum.org/blog/view/from-the-collection-landscape-by-agnes-northrop

Hartwell Memorial Window (Detail), 1917, Leaded glass, 798.7 × 554.7 × 42.5 cm, the Art Institute of Chicago, USA http://www.ravenswoodstudio.com/project/hartwell-memorial-window/

The Hartwell Memorial Window is one of the most extraordinary leaded glass windows ever made by Tiffany Studios, the leading glass firm of America’s Gilded Age. It was commissioned, over a century ago, by Mary Hartwell, to honor Frederick Hartwell, her late husband. It was originally gifted to the Community Church of Providence, Rhode Island, and remained in the church sanctuary until 2018 when a unanimous decision by the congregation saw it handed over to the Art Institute of Chicago. It was wisely thought that in the Art Institute the precious Tiffany Memorial Window would be well conserved, and appreciated by a wider public. The Art Institute of Chicago welcomed this extraordinary gift and installed the Hartwell Memorial Window in the Henry Crown Gallery at the top of the Women’s Board Grand Staircase in the Art Institute’s historic Michigan Avenue building.

For a Student Activity, inspired by Hartwell Memorial Window by Tiffany, please… Check HERE!

An Art Institute conservator works on the restoration of the Tiffany Studios’ Hartwell Memorial Window by Jonathan Mathias https://chicago.suntimes.com/2021/5/25/22453083/art-institute-chicago-tiffany-hartwell-window-stained-glass

Freedom From Want by Norman Rockwell

Norman Rockwell, American Artist, 1894-1978
Freedom From Want, 1943, Oil on canvas, 115.16×89.20 cm, Story illustration for The Saturday Evening Post, March 6, 1943. Norman Rockwell Museum, Stockbridge, MA, USA https://www.nrm.org/2016/11/freedom-want-1943/

On Thanksgiving Day remember Ralph Waldo Emerson (18031882) and Give thanks for each new morning with its light, / For rest and shelter of the night. / For health and food, / For love and friends, / For everything they goodness sends… and ‘feast’ your eyes with Freedom From Want by Norman Rockwell.

The ‘Four Freedoms’ speech, the 1941 State of the Union Address by US President, Franklin D. Roosevelt, is the only Presidential speech in American history that inspired a multitude of books and films, the establishment of its own park, a series of paintings by a world famous artist, a prestigious international award and a United Nation’s resolution on Human Rights. On the 6th of March 1943, The Saturday Evening Post published Norman Rockwell’s Freedom From Want, a painting inspired by the ‘Four Freedoms’ speech, and one of my favourite Rockwell paintings.  https://fdr.blogs.archives.gov/2016/01/06/four_freedoms/

Norman Rockwell had a long-standing collaboration with The Saturday Evening Post, which he considered to be the greatest show window in America. The collaboration started in 1916, when the 22-year-old Rockwell painted his first cover for the magazine, and continued over the next 47 years. By 1963, when the collaboration with the Post ended, 322 Rockwell paintings had appeared on the cover of the magazine. https://www.nrm.org/about/about-2/about-norman-rockwell/

Freedom From Want is an iconic Rockwell painting we associate with Thanksgiving. Did Norman Rockwell paint Freedom from Want to celebrate a Thanksgiving feast?

No, he did not! Freedom From Want was one in a series of four paintings Rockwell made in response to Franklin Delano Roosevelt’s 1941 State of the Union address known as the “Four Freedoms.” (The other freedoms were “freedom of speech,” “freedom of worship,” and “freedom from fear.”) He offered the series to the Office of War Information (OWI). The Office turned him down ‘unceremoniously,’ answering back to him… ‘The last war, you illustrators did the posters. This war, we’re going to use fine arts men, real artists.’ https://news.artnet.com/art-world/norman-rockwell-thanksgiving-freedom-from-want-three-facts-1926485

Norman Rockwell, American Artist, 1894-1978
Freedom From Want was reproduced in millions of posters promoting the sale of War Bonds. Charleston Museum, USA https://news.artnet.com/art-world/norman-rockwell-thanksgiving-freedom-from-want-three-facts-1926485

However, Ben Hibbs, editor of the Saturday Evening Post, Rockwell’s devoted ‘employer,’ had a different opinion! Rockwell’s paintings of the Four Freedoms were published, and they became so popular, that the magazine decided to offer prints for sale. The OWI, which had turned down Rockwell just a few months earlier, asked to use prints of the paintings in a war bond campaign that would ultimately garner over $132 million in bonds and stamps. Bottom line, millions of posters of Rockwell’s paintings were distributed across the country and posted in schools, libraries, and post offices. https://news.artnet.com/art-world/norman-rockwell-thanksgiving-freedom-from-want-three-facts-1926485

Freedom From Want depicts an idealistic white, middle-class family seated around a crisply adorned dinner table. The patriarch, placed at the head of the table, presides over the holiday gathering accompanied by the family matriarch, who presents a roasted turkey, the ‘piece de resistance’ of the artist’s painting. In a typical Rockwell manner, the people portrayed in the painting were his friends, family, and neighbors in the town of Arlington, Vermont, whom he photographed in his studio and painted into the complex composition individually (they never sat together). https://news.artnet.com/art-world/norman-rockwell-thanksgiving-freedom-from-want-three-facts-1926485  and https://www.nrm.org/2012/10/collections-four-freedoms/

Norman Rockwell, American Artist, 1894-1978
Freedom From Want, detail, 1943, Oil on canvas, 115.16×89.20 cm, Story illustration for The Saturday Evening Post, March 6, 1943. Norman Rockwell Museum, Stockbridge, MA, USA https://news.artnet.com/art-world/norman-rockwell-thanksgiving-freedom-from-want-three-facts-1926485

Rockwell’s painting has its critics and its supporters. Even Rockwell himself thought that it ‘lacked a wallop.’ There are, however, many more who treasure it. Like Deborah Solomon, his biographer, who goes so far as to call the light-filled canvas ‘one of the most ambitious plays of white-against-white since Whistler’s Symphony in White, No. 1.’ For me, the composition is highly organized, the colour tones are warm (even the whites), and light is soft. This is a family scene we have all experienced, a moment we cherish, and a Norman Rockwell painting we love! https://news.artnet.com/art-world/norman-rockwell-thanksgiving-freedom-from-want-three-facts-1926485

I would like to draw your attention to page 82 of Picturing America, and how masterfully the controversy over Rockwell the artist, or Rockwell the illustrator, is addressed… Rockwell had been born into a world in which painters crossed easily from the commercial world to that of the gallery, as Winslow Homer had done. By the 1940s, however, a division had emerged between the fine arts and the work for hire that Rockwell produced. The detailed, homespun images he employed to reach a mass audience were not appealing to an art community that now lionized intellectual and abstract works. But Rockwell knew his strengths did not lie in that direction: “Boys batting flies on vacant lots,” he explained in 1936, “little girls playing jacks on the front steps; old men plodding home at twilight, umbrella in hand — all these things arouse feeling in me.” https://picturingamerica.neh.gov/downloads/pdfs/Resource_Guide/English/English_PA_TeachersGuide.pdf

For a PowerPoint on Norman Rockwell’s paintings of the ‘Four Wants,’ please… Check HERE! 

La Carmencita by John Singer Sargent

John Singer Sargent, American Artist, 1856-1925
La Carmencita, c. 1890, Oil on Canvas, 229,0 x 140,0 cm, Musée d’Orsay, Paris, France
https://www.musee-orsay.fr/en/artworks/la-carmencita-9161

Celebrated as the leading society portraitist of his era, write the NGA experts, John Singer Sargent influenced a generation of American painters. His personal captivation with Spain resulted in a remarkable body of work that documents his extensive travels from the north to the south and to the island of Majorca. Over three decades Sargent responded to the country’s rich culture by producing landscapes and marine scenes, pictures of everyday life, and architectural studies, as well as sympathetic portrayals of the locals he encountered. La Carmencita by John Singer Sargent is one such painting I would like to learn more about… https://www.nga.gov/exhibitions/2022/sargent-and-spain.html

In 1889, while visiting the Exposition Universelle in Paris, John Singer Sargent had his first encounter with Carmen Dauset Moreno, known as La Carmencita (1868 – 1910), the famous Spanish-style dancer, who danced at the Nouveau Cirque with great acclaim. Sponsored by theatrical agent Bolossy Kiralfy at first, La Carmencita became a theatrical sensation in the United States dancing in the ballet Antiope. In 1890, under the management of John Koster and Albert Bial, she performed in their 23rd Street Concert Hall with great success. Carmencita is the first woman performer to appear in front of an Edison motion picture camera and may have been the first woman to appear in a motion picture in America. https://en.wikipedia.org/wiki/Carmencita

Sargent, enamored with Spanish music, and dancing since the 1880s, described La Carmencita as a bewildering superb creature. In 1890, the same year William Merritt Chase did his portrait of the famous dancer, Sargent persuaded a restless and demanding Carmencita pose for him. He was restless as well… and he made many studies of her dancing, but in the end, he opted to portray her in a stationary pose. According to the MET Museum experts the critics were divided… how dare did Sargent represent ‘a common music hall performer in such a monumental way…https://www.culturezohn.com/culturedpearls/tag/The+Met

John Singer Sargent, American Artist, 1856-1925
La Carmencita (and detail), c. 1890, Oil on Canvas, 229,0 x 140,0 cm, Musée d’Orsay, Paris, France https://www.facebook.com/artic/photos/pcb.10156398108568150/10156398121923150/?type=3&eid=ARAJqnf0ffscPXNE5DuZvOr1KSTg38J0yvdUPccBTitulGvhVU0Wpt-1YLwxNsNS_whsdRXHa7EE0-w9

Painted in bold colours, hands on hip, right leg extended, against a dark background to highlight his skills as a painter Sargent creates the portrait of a snapshot posing dancer. Her posture is elegant and majestic, projecting her magnetism. Her face, like that of several of Sargent’s models of the time, is rendered white and masklike from cosmetics, with arched eyebrows, hinting at a proud, even haughty presence. Using a charming theme, swift brushstrokes, and washes of warm earthy colours, Sargent created a magnificent painting of feminine allure. When during 1890 La Carmencita was exhibited in Chicago, crowds of visitors went to the Art Institute to admire the famous painting. In 1892, two years after its creation, the painting was purchased from the artist by the French state. Today La Carmencita is in the collection Musée d’Orsay. https://www.metmuseum.org/art/collection/search/21453

For a PowerPoint on Sargent and Spain, please…  Click HERE!

John Singer Sargent, American Artist, 1856-1925
La Carmencita, c. 1890-1910, Brush on Paper, 0.346 x 0.226 m, Louvre Museum, Paris, France, Musée d’Orsay, Paris, France
https://collections.louvre.fr/en/ark:/53355/cl020500419

From the Library of Congress, Washington DC, La Carmencita, the Spanish Performer, as she danced in front of an Edison motion picture camera. Filmed by William Heise, March 10-16, 1894, in Edison’s Black Maria studio… https://www.youtube.com/watch?v=-15jwb1ZTMA

The Sargent and Spain Exhibition can be seen in the National Gallery in Washington DC (October 2, 2022 – January 2, 2023). According to the NGA Experts, the Sargent and Spain  Exhibition presents for the first time, approximately 120 dazzling oils, watercolors, and drawings, many of which are rarely exhibited. Also featured from the artist’s travels are some 28 never-before-published photographs, several almost certainly taken by Sargent himself. It is an Exhibition worth visiting! https://www.nga.gov/exhibitions/2022/sargent-and-spain.html

Smash the Hun

Edward Hopper, American Artist, 1882–1967
Smash the Hun, 1918, WWI poster by Edward Hopper for the in-house magazine of the Morse Dry Dock and Repair Company in Brooklyn, where Hopper worked as an illustrator (issue of Feb 1919)
https://rockwellcenter.org/wp-content/uploads/2011/06/Hopper-Smash-the-Hun1.jpg

The American artist Edward Hopper is acknowledged as one of the most significant artists of the 20th century. He is known for his oil paintings of urban life scenes, behind windows and across streets, dating from the 1920s to the 1960s, some of which have become highly popular images, like the Nighthawks (1942, Oil on canvas, 84.1 x 152.4 cm, Art Institute of Chicago). He is less known for the attention he has paid to landscapes, particularly landscapes of New England, like Cape Ann Granite (1928. Oil on canvas, 73.5 x 102.3 cm. Private Collection). He is even less known for his early illustrations… like Smash the Hun…his ticket to success.

Edward Hopper, American Artist, 1882–1967
Self-Portrait, 1925–1930, Oil on Canvas, 64.5 × 51.8 cm, Whitney Museum of American Art, NY, USA https://whitney.org/collection/works/6068

In 1918 Edward Hopper was thirty-six years old and still struggling for artistic recognition. He was born on July 22, 1882, in the charming riverfront village of Upper Nyack, New York, where he spent his formative years. He grew up, comfortably, embraced by an educated family that was involved in the arts, and went to museums, concerts, and other cultural events. Inclined to draw as a child, Hopper was supported by his family to pursue the arts, but being of practical mind, his parents suggested he chose to study Illustration for a career that would provide him a steady income. Hopper took courses at the Correspondence School of Illustrating and at the New York School of Art. Noted illustrator/painters Arthur Keller, Frank Vincent Du Mond, Kenneth Hayes Miller, and Robert Henri were among his teachers, and John Sloan, who worked regularly as a commercial illustrator prior to 1916, was an early influence. His strong, and dynamic illustrations for trade publications are memorable… but this is not what he really wanted, and by 1918 he was getting restless… https://www.thoughtco.com/edward-hopper-biography-4165484 and https://www.mutualart.com/Exhibition/Unknown-Hopper–Edward-Hopper-as-Illustr/3CFFF3BDEE4BBFF2

Unduly… it was the art of illustration that won Hopper his first kind of fame. According to Gail Levin, who wrote Edward Hopper: An Intimate Biography, Bert Edward Barnes, editor of the Morse Dry Dock Dial, liked his work and probably persuaded him to enter the contest for a propaganda poster sponsored by the United States Shipping Board Emergency Fleet Corporation in 1918. The agency had been created in September 1916 with the authority to build, purchase, lease, or requisition vessels needed for the war effort.

Barnes encouraged Hopper to visit the shipyard to get the right feel, and volunteered one of his employees, Pete Shea, to model for the poster. He also had Shea photographed in the pose and gave a print to Hopper, who recalled in an ironical sketch:I got this big Irishman to pose for me in the shipyards, with the background of ship’s ribs, that sort of things. I had his swigging a maul, and the maul was aimed at a bloody bayonet sticking unpin one corner. I titled it ‘Smash the Hun’; it was pretty awful and I don’t think it was ever published.” In fact, Hopper’s design appeared on the cover of the Morse Dry Dock Dial for February 1919.

The four-colour poster won Hopper the three-hundred-dollar first prize among fourteen hundred contestants. Since the armistice was declared before the poster could be reproduced for mass distribution, Hopper’s fame came from the exhibition of Smash the Hun along with nineteen other finalists in August 1918, in the window of Gimbel’s department store on Broadway, where, according to the press, ‘thousands’ saw the ‘stirring pictures placed on vie.’ The papers reported that the wave of popular excitement swept up Hopper’s model, Shea: he enlisted in the Navy.

Interesting to read… Edward Hopper: An Intimate Biography by Gail Levin https://books.google.gr/books?id=6Dh2gFK-lecC&pg=PA117&lpg=PA117&dq=Hopper+Smash+the+Hun&source=bl&ots=qjJ-w8SQPt&sig=ACfU3U2U_AkbuBJuhjWMNGjQXS_edv90bw&hl=el&sa=X&ved=2ahUKEwif6dug0Yf6AhXGSPEDHWFXCpw4ChDoAXoECBQQAw#v=onepage&q=Hopper%20Smash%20the%20Hun&f=false pp. 108, 116-117

For a PowerPoint, titled Edward Hopper: The Early Years, please… Check HERE!

An interesting Video Presentation of The Unknown Hopper: Edward Hopper as Illustrator. The Video was created for the Exhibition that was on view at Norman Rockwell Museum between June 7, 2014 to October 26, 2014… https://www.facebook.com/historyofart2016/videos/200213034763003

The origins of Edward Hopper’s earliest oil paintings by Louis Shadwick “cuts straight through the widely held perception of Hopper as an American original,” and helps the reader understand Hopper’s artistic journey. https://burlington.org.uk/media/_file/generic/202010-42790.pdf and https://www.smithsonianmag.com/smart-news/some-edward-hoppers-earliest-works-were-copies-180975958/

The Red School House by Winslow Homer

Winslow Homer, American Artist, 1836 – 1910
The Red School House, 1873, oil on canvas, 55.5 x 39.5 cm, NGA, Washington DC, USA https://www.nga.gov/collection/art-object-page.66419.html

On the 5th of October, we celebrate World Teachers’ Day, acknowledging the critical role teachers play in achieving inclusive, quality education for all… and recognizing that during the pandemic …teachers have shown, as they have done so often, great leadership and innovation in ensuring that #LearningNeverStops, that no learner is left behind. Around the world, they have worked individually and collectively to find solutions and create new learning environments for their students to allow education to continue… I would like to celebrate World Teachers’ Day by remembering Homer’s words (Iliad 9.437-443)…  The old man and horse-trainer Peleus… sent me (Phoinix) for this reason: to teach you (Achilles) all these things, / how to be a speaker of words and a doer of deeds, and by looking deeper into a Painting… The Red School House by Winslow Homer. https://en.unesco.org/commemorations/worldteachersday

Winslow Homer is one of the finest 19th-century American Artists. His career started as a graphic reporter during the American Civil War with paintings like Home, Sweet Home, and Sharpshooter on Picket Duty, of 1863, or Prisoners from the Front, of 1866 defining his early career. The late 1860s and the 1870s were, however, the artist’s finest years of artistic experimentation and prolific and varied output. Living and working in New York, but traveling to Paris, in late 1867, for the exhibition of two of his Civil War Paintings at the Exposition Universelle, Homer came face to face with the French avant-garde, and although there is little likelihood of influence, the artist shared their subject interests, their fascination with serial imagery, and their desire to incorporate into their works outdoor light, flat and simple forms (reinforced by their appreciation of Japanese design principles), and free brushwork. https://www.metmuseum.org/toah/hd/homr/hd_homr.htm

Winslow Homer, American Artist, 1836 – 1910
The Red School House (details teacher), 1873, oil on canvas, 55.5 x 39.5 cm, NGA, Washington DC, USA https://twitter.com/ngadc/status/1468980569300258821/photo/1 and https://twitter.com/ngadc/status/1468980569300258821/photo/2

The Red School House is one of several paintings Winslow Homer created from 1871 to 1874. They all shared the same theme… scenes of school life, with three consistent elements: a small red schoolhouse, its young female teacher, and a luminous mountain setting. The NGA experts believe that Homer working after the American Civil War was expressing a popular wave of nostalgia in late 19th-century America for small country schools and the simpler lifestyle and the country’s sense of optimism for future generations. https://www.nga.gov/collection/art-object-page.66419.html

Winslow Homer, American Artist, 1836 – 1910
The Red School House (detail students), 1873, oil on canvas, 55.5 x 39.5 cm, NGA, Washington DC, USA https://twitter.com/ngadc/status/1468980569300258821/photo/3

Although titled The Red School House the painting is in fact a portrait, NGA experts explain, in which the schoolhouse and its attendant figures are secondary and very abbreviated parts. The name of the person depicted is not known, but her high cheek bones and down-turned mouth are similar to the features of the person in such other works as The School Girl, c. 1871, who represents a school teacher, and Young Girl at the Window of 1875 (fi&- 4)5 who wears a black fichu at her neck. More information on The Red School House can be found in the NGA publication American Paintings of the Nineteenth Century, Part I, pages 305-309, which is available as a free PDF at… https://www.nga.gov/content/dam/ngaweb/research/publications/pdfs/american-paintings-19th-century-part-1.pdf

For a Student Activity on the Little Red School House, please… Check HERE!

Winslow Homer, American Artist, 1836 – 1910
The School Girl, 1871, oil on canvas, 47.6×39.7 cm, Worcester Art Museum, MA, USA https://commons.wikimedia.org/wiki/File:Winslow_Homer_-_The_School_Mistress_%28c.1870%29.jpg
Young Girl at Window, 1875, watercolor, the New Britain Museum of American Art, CT, USA https://www.globalgallery.com/detail/373299/homer-young-girl-at-window

The Parthenon by Frederic Edwin Church

Frederic Edwin Church, American Artist, 1826–1900
Study for “The Parthenon”, 1869-70, Oil on Paper mounted on canvas, 33 x 50.8 cm, MFA, Boston, USA
https://upload.wikimedia.org/wikipedia/commons/6/69/Frederic_Edwin_Church_-_Study_for_%22The_Parthenon%22_-_2008.48_-_Museum_of_Fine_Arts.jpg

The Parthenon by Frederic Edwin Church in the Museum of Fine Arts in Boston is one of my favorite paintings of all time. I look at it and think of the artist, who wrote to his friend William O. Osborn on the 14th of April 1869… The Parthenon is certainly the culmination of the genius of man in architecture. Every column, every ornament, every molding, asserts the superiority which is claimed for even the shattered remains of the once proud temple over all other building by man… I have made architectural drawings of the Parthenon and fancied before I came to Athens that I had a good idea of its merits. But, I knew it not. Daily I study its stones and feel its inexpressible charm of beauty growing upon my senses. I am glad – and shall try and secure as much material as possible. I think a great picture could be made of the ruins. They are very picturesque as well as imposing, and the colour is superb… American Paradise: The World of the Hudson River School by Avery, Kevin J., Oswaldo Rodriguez Roque, John K. Howat, Doreen Bolger Burke, and Catherine Hoover Voorsanger, 1987, The Metropolitan Museum of Art, pp. 263-265 https://www.metmuseum.org/art/metpublications/American_Paradise_The_World_of_the_Hudson_River_School

And the colour Church employs for his MFA Study for “The Parthenon” is indeed superb! More so than the finished painting of the Parthenon in the Metropolitan Museum, Church’s MFA Study captures the unique Athenian light… its shocking ability to change into all the colours of ‘Iris’ in the course of a day… its vibrant, warm, and eloquent qualities… its ability to touch the Pentelic marble and give it meaning, significance, and a pulsating inner world… In April 1869 Frederic Edwin Church outdid himself… creating a superb representation of a superb architectural creation.

For Frederic Edwin Church traveling to Greece was part of a three-continent Grand Tour that included England, France, Egypt, Lebanon, Jerusalem, Syria, Turkey, Austria, Switzerland, and finally Rome in Italy. The trip started late in 1867, it included the whole year of 1868 and ended in 1869. In April 1869 Church sailed to Athens, where he spent several weeks. Impressed by the Parthenon, he wrote to his sculptor friend Erastus Dow Palmer… I recently visited Greece – Athens – I was delighted – the Parthenon is a wonderful work of the human intellect – but it must be seen – no photograph can convey even a faint impression of its majesty and beauty – fragments of sculpture are strewn all about – and let me say that I think Athens is the place for a sculptor… The Greeks had noble conceptions. They gave a large-godlike air to all they did and the fragments and bits are full of merit. I spend over two weeks there with immense pleasure and profit – and when I returned – Rome with its gross architecture looked cheap and vulgar. https://www.metmuseum.org/art/metpublications/American_Paradise_The_World_of_the_Hudson_River_School

Back in the United States, in January 1870, Church wrote once more to his friend William O. Osborn… I shall commence a large picture of the Parthenon soon, probably. This picture is now part of the Metropolitan Museum Collection. My favorite Picture of the Parthenon is, however, housed in the Boston MFA. It is one, of the finest in my humble opinion, of ten carefully recorded Studies the artist did before embarking on his final representation of the Parthenon.

Celebrating UN International Day of Democracy, allow me to quote UN Secretary-General António Guterres saying… Let us commit to safeguarding the principles of equality, participation and solidarity, so that we can better weather the storm of future crises… and enjoy the eternal symbol of Democracy… The Parthenon as painted by the great American representative of the Hudson River School of Painting, Frederic Edwin Church.

For a PowerPoint on Frederic Edwin Church’s 1869 trip to Athens, please… Check HERE!

Frederic Edwin Church, American Artist, 1826–1900
The Parthenon, 1871, Oil on Canvas, 113 x 184.5 cm, The MET, NY, USA https://www.metmuseum.org/art/collection/search/10482

Rooms by the Sea

Edward Hopper, American Artist, 1882–1967
Rooms by the Sea, 1951, Oil on canvas, 74.3 × 101.6 cm, Yale University Art Gallery, New Haven, Connecticut, USA https://www.edwardhopper.net/rooms-by-the-sea.jsp

John Keats (1795-1821), as a true Romantic… dwells in Solitude, alone, in pleasant surroundings rather than in a city populated by murky buildings… O solitude! (he writes) if I must with thee dwell, / Let it not be among the jumbled heap / Of murky buildings; climb with me the steep,— / Nature’s observatory—whence the dell, / Its flowery slopes, its river’s crystal swell, / May seem a span; let me thy vigils keep / ’Mongst boughs pavillion’d, where the deer’s swift leap / Startles the wild bee from the fox-glove bell. / But though I’ll gladly trace these scenes with thee, / Yet the sweet converse of an innocent mind, / Whose words are images of thoughts refin’d, / Is my soul’s pleasure; and it sure must be / Almost the highest bliss of human-kind, / When to thy haunts two kindred spirits flee. Edward Hopper (1882–1967) with his painting Rooms by the Sea creates, visually, an Icon of his own Solitude! https://www.poetryfoundation.org/poems/46561/ode-on-solitude and https://artgallery.yale.edu/collections/objects/52939

Ever since Hopper visited Cape Cod, back in 1930, he fell under its spell… As Gregory Dicum of the New York Times wrote… At low tide, the warm water of Cape Cod Bay recedes to expose banks of smooth sand, which swarm with kids, dogs, and blissfully vacationing parents. As the sun sinks toward Provincetown, it cuts through a hazy summer sky, shimmering off the quicksilver bay. Hopper was enchanted! Summers on Cape Cod were welcoming and joyful… so in 1934, he and his wife, Josephine, built a modest summer house/studio, a classic Cape, but for a huge north-facing window. For nearly 40 summers, Hopper returned to this simple dwelling to enjoy and paint… the ease of an open landscape of beach, heath, and woodlot.

Arnold Newman, American Photographer, 1918-2006
Portrait of Edward Hopper, Aug. 14, 1960, in Truro, Mass., in front of his Cape Cod Studio https://alanclaude.com/blogs/news/edward-hoppers-cape-cod-studio

In 1951, a mature Edward Hopper painted Rooms by the Sea, a view of what Hopper would have seen out the back door of his studio… the expanse of the Cape Cod sea and the bright sunlight. What an interesting, awkward,  composition! A white, wide wall dominates the center of the composition, dividing his canvas into two distinctive parts. The left side depicts an ordinary room glared with boring tones. The right side, bathed in sunshine, presents the vastness of the sky and the energy of the sea. This is the painting of an artist who liked us to focus on mood more than detail, and the mood is that of silence and solitude. Let’s not forget that the original title of the discussed painting was Rooms by the Sea. Alias the Jumping Off Place. https://artgallery.yale.edu/collections/objects/52939 and https://www.edward-hopper.org/rooms-by-the-sea/

Edward Hopper, American Artist, 1882–1967
Two Studies for Rooms by the Sea (recto and verso), 1951, Charcoal, 21.4 × 27.8 cm, Yale University Art Gallery, New Haven, Connecticut, USA
https://artgallery.yale.edu/collections/objects/132659

The Art Critic Clement Greenberg persuasively described Edward Hopper as a bad painter but a superior artist. I would like to wrap this presentation up with what Greenberg further wrote: “Hopper is not a painter in the full sense; his means are second hand, shabby, and impersonal, But his rudimentary sense of composition is sufficient for a message that conveys an insight into the present nature of American life for which there is no parallel in our literature, though that insight in itself is literature.” So interesting… Reviewed Work: Edward Hopper: An Intimate Biography by Gail Levin, by: Alan Rutenberg, The American Scholar, Vol. 65, No. 4 (Autumn 1996), pp. 628-631 https://www.jstor.org/stable/41212573

For a PowerPoint on Hopper’s Cape Cod, please… Check HERE!

An interesting Video, titled Summer On Cape Cod with Edward Hopper, by curator Joachim Homann of Harvard Art Museums… https://www.youtube.com/watch?v=j9KzVQ_9qQI

Poppies on the Isles of Shoals

Childe Hassam, American Artist,1859–1935
Poppies on the Isles of Shoals, 1891, 50.2×61 cm, National Gallery of Art, Washington DC, USA
https://commons.wikimedia.org/wiki/File:Childe_Hassam,_Poppies,_Isles_of_Shoals,_1891.jpg

At the Isles of Shoals, among the ledges of the largest island, Appledore lies the small garden which in the following pages I have endeavored to describe. Ever since I could remember anything, flowers have been like dear friends to me, comforters, inspirers, powers to uplift and to cheer. A lonely child, living on the lighthouse island ten miles away from the mainland, every blade of grass that sprang out of the ground, every humblest weed, was precious in my sight, and I began a little garden when not more than five years old. From this, year after year, the larger one, which has given so much pleasure to so many people, has grown. The first small bed at the lighthouse island contained only Marigolds, pot Marigolds, fire-colored blossoms which were the joy of my heart and the delight of my eyes. This scrap of the garden, literally not more than a yard square, with its barbaric splendors of color, I worshiped like any Parsee… writes Celia Thaxter, the lover of gardening, flowers, and the good friend of painter Childe Hassam. Poppies on the Isles of Shoals is one of his many paintings celebrating the flora of this unique group of nine small, rocky islands off the coast of New Hampshire, in the Atlantic. https://digital.library.upenn.edu/women/thaxter/garden/garden.html

Appledore (House) Hotel and landing, Isles of Shoals, NH, between 1901 and 1906, Detroit Publishing Co., publisher, Library of Congress, Washington DC, USA
https://www.historynet.com/childe-hassams-island-escape/

Imagine a summer day in the company of novelist Nathaniel Hawthorne, poets Ralph Waldo Emerson, Henry Wadsworth Longfellow, and artists Childe Hassam, and  William Morris Hunt. Now add conversations on art, and music, recitations of poetry, intellectual “arguments,” and gardening “lessons.” The result is… a summer day at Appledore House, a family-run Hotel on Appledore Island, off the coast of Maine, where every summer Childe Hassam and a group of musicians, writers, and artists mad an informal colony as guests of Celia Thaxter, poet extraordinaire, passionate gardener and Hotel proprietor. https://americanexperience.si.edu/wp-content/uploads/2014/10/Hassam.pdf

Childe Hassam painting on Appledore, from The Cruise of Mystery and Other Poems by Celia Thaxter, 1888, archival photograph. Boston Public Library, Rare Books Department https://www.christies.com/features/Lot-427-Childe-Hassam-The-East-Headland-Pool-Appledore-9072-6.aspx

For three decades (between 1886 and 1916), Childe Hassam was perfectly happy to spend his Summers at Appledore House painting, en plain air, Celia Thaxter’s Hotel garden, and the rugged landscape of the Isles of Shoals. His body of work at Appledore remains a pinnacle of American Art of the Impressionist movement. He was particularly fond of painting Babb’s Cove from the shaded piazza of Thaxter’s cottage. He routinely set up his easel there to paint the vista, which included the brilliant field of Iceland poppies cascading beyond the borders of her famous flower garden. As Thaxter wrote in 1894, “How beautiful they are, these grassy, rocky slopes shelving gradually to the sea, with here and there a mass of tall, blossoming grass softly swaying in the warm wind against the peaceful, pale blue water!” https://www.incollect.com/articles/american-impressionist-childe-hassam-and-the-isles-of-shoals and https://www.pem.org/exhibitions/american-impressionist-childe-hassam-and-the-isles-of-shoals

Childe Hassam, American Artist,1859–1935
Poppies on the Isles of Shoals (detail), 1891, 50.2×61 cm, National Gallery of Art, Washington DC, USA
https://commons.wikimedia.org/wiki/File:Childe_Hassam,_Poppies,_Isles_of_Shoals,_1891.jpg

The National Gallery Poppies on the Isles of Shoals painting of1891 is my favorite! The painting, as Franklin Kelly wrote, presents a broad vista moving from a dense foreground of flowers to a background of rocks, water, and sky. The poppies that spread beyond Celia Thaxter’s garden were the artist’s favorite subject. They cover the foreground with brilliant, warm hues of green and red in wavy brushstrokes. For the rest of the painting, the middle and background is painted in cooler tones of blue, purple, and white for the rocks and water, and pale blue for the sky. Hassam’s brushwork is equally varied, ranging from lush red and white strokes defining the flowers to long drags of pigment suggesting the multihued surfaces of the rocks. The artist’s painting is a tour de force of Impressionistic landscape painting en plein air. https://www.nga.gov/collection/art-object-page.103172.html

Childe Hassam, American Artist,1859–1935
Poppies on the Isles of Shoals (Detail of Signature), 1891, Oil on Canvas, 50.2×61 cm, National Gallery of Art, Washington DC, USA
https://www.lonequixote.com/blog/hassam-poppies-isles-of-shoals-details-1891-b

For anyone accustomed to academic landscape painting, seeing one of Hassam’s Isles of Shoals paintings was, as one reviewer wrote, “like taking off a pair of black spectacles that one has been compelled to wear out of doors, and letting the full glory of nature’s sunlight color pour in upon the retina.”  https://www.nga.gov/collection/art-object-page.103172.html

For a PowerPoint titled 15 Paintings by Childe Hassam depicting the Isles of Shoals, please… Check HERE!

An original UNC-TV Documentary (27.55min) exploring the North Carolina Museum of Art exhibit of American impressionist painter Childe Hassam. The documentary focuses on Hassam’s work on Appledore Island over the course of thirty years… https://www.pbs.org/video/unc-tv-presents-childe-hassam-and-isles-shoals/

John Singleton Copley’s Portrait of Paul Revere

John Singleton Copley, 1738 – 1815
Portrait of Paul Revere,
1768, oil on canvas, 89.22 x 72.39 cm, Museum of Fine Arts, Boston MA, USA https://collections.mfa.org/objects/32401  

Listen, my children, and you shall hear /  Of the midnight ride of Paul Revere, / On the eighteenth of April in Seventy-Five; / Hardly a man is now alive / Who remembers that famous day and year. / He said to his friend, –“If the British march / By land or sea from the town to-night, / Hang a lantern aloft in the belfry-arch / Of the North-Church-tower, as a signal-light— / One if by land and two if by sea; / And I on the opposite shore will be, / Ready to ride and spread the alarm / Through every Middlesex village and farm, / For the country-folk to be up and to arm…     /     So through the night rode Paul Revere; / And so through the night went his cry of alarm / To every Middlesex village and farm,— / A cry of defiance, and not of fear, / A voice in the darkness, a knock at the door, / And a word that shall echo forevermore! / For, borne on the night-wind of the Past, / Through all our history, to the last, / In the hour of darkness and peril and need, / The people will waken and listen to hear / The hurrying hoof-beats of that steed, / And the midnight message of Paul Revere. Thus, begins and ends Henry Wadsworth Longfellow’s famous poem “Paul Revere’s Ride.” On the 4th of July 2022, I want to remember and honour the man, the brave Massachusetts Minuteman, and the talented silversmith… by looking at John Singleton Copley’s Portrait of Paul Revere! https://poets.org/poem/paul-reveres-ride

By 1867 Paul Revere was a member of the Massachusetts Minutemen, a group of patriots ready to act against the British army at a moment’s notice, had joined the Sons of Liberty group and was an active political figure. He was also famous for his considerable talents as a silversmith. Today his fame springs from Longfellow’s poem “Paul Revere’s Ride.”, a work that was first published in the January 1861 issue of The Atlantic Monthly, his remarkable portrait of 1768 by John Singleton Copley, and a select group of silverware like the “Sons of Liberty Bowl,” commissioned by 15 members of the Sons of Liberty in 1768, and made by the artist.

John Singleton Copley, 1738 – 1815
Portrait of Paul Revere (details),
1768, oil on canvas, 89.22 x 72.39 cm, Museum of Fine Arts, Boston MA, USA https://smarthistory.org/john-singleton-copley-paul-revere/

It is interesting how John Singleton Coplay portrayed Paul Revere in his traditional job as a silversmith, and not as the important revolutionary figure he was. He stands behind his highly polished table, holding a silver tea-pot, tools of his trade in front of him, modestly dressed… showing an industrious and humble character. It is no surprise that Revere was portrayed this way, for the revolutionary Americans, especially those of the north, were very proud of their industrial nature. https://gschmittleinushistory.weebly.com/mfa-project.html

Copley’s portrait of Paul Revere is, according to Dr. Bryant Zygmont, striking in many ways. The way he is dressed is one of them… Revere, shown by Copley in half-length, wigless, holding his chin with his right hand and regarding the viewer as if he has just looked up, is not portrayed wearing his “Sunday’s Best” clothing, as was the custom of the time. Revere wears, for example, no Jacket or Coat, as every Colonial American man would have worn if they could afford to do so. Instead, he wears simple working attire, a decision that underscores his artisan, middle-class status. Details not to be missed are… the open-collared shirt, made from plain white linen, the lack of cravat, a kind of formal neckwear, the open undershirt peeking from underneath his linen shirt, and a wool (or perhaps a dull silk) waistcoat, unbuttoned as well, yet featuring two gold buttons. https://smarthistory.org/john-singleton-copley-paul-revere/

There are more details to notice. Revere’s, for example, open white shirt and the blue-green waistcoat is worn without a jacket are associated with work clothes. Yet, the cleanliness of his attire, the golden buttons of his vest, the nearly completed silver tea-pot in his left hand, and the polished, pristine table in front of him, do not reflect the garments Revere actually wore to ply his trade, nor the craftsman’s workbench. Is John Singleton Copley’s Portrait of Paul Revere an idealized image of the American artisan at work? One can only wonder! https://collections.mfa.org/objects/32401

Happy 4th of July

Information for my short presentation was sourced in https://smarthistory.org/john-singleton-copley-paul-revere/ and https://collections.mfa.org/objects/32401

For a Student Activity, please… Check HERE!

For a Student Activity on Copley’s Portrait of Paul Revere, Check the Teachers Resource Book of Picturing America by the National Endowment for the Humanities, pp. 10-11 https://web-archive-2017.ait.org.tw/zhtw/PUBS/PicturingAm/PA_TeachersResource_Book_en.pdf

Photo of the 2019 Exhibition Becoming a Painter in 18th-Century Boston: Copley and Others. Copley’s Portrait of Paul Revere and the “Sons of Liberty Bowl,” created by Paul Revere Jr. and commissioned by 15 members of the Sons of Liberty in 1768.
https://www.mfa.org/programs/gallery-activities-and-tours/becoming-a-painter-in-18th-century-boston-copley-and-others

Portrait of Alexander Cassatt and Robert Cassatt

Mary Stevenson Cassatt, American Artist, 1844 – 1926
Portrait of Alexander J. Cassatt and His Son, Robert Kelso Cassatt, 1884, Oil on Canvas, 100.3 × 81.3 cm, Philadelphia Museum of Art, USA https://philamuseum.org/collection/object/104479

The Portrait of Alexander Cassatt and Robert Cassatt by Alexander’s sister Mary Stevenson Cassatt is a perfect example of what an American artist could achieve in Paris… the Mecca of Modern Art, and Old World charm. Starting in 1865, at the end of the Civil War, traveling to Europe became an American institution! Americans were attracted by French culture and bohemian life. They attended social events, art exhibitions, and archaeological monuments. They studied art or collected antiquities, artworks of the Old Masters, or paintings by contemporary artists. This phenomenon is best described by Henry James who wrote…It sounds like a paradox, but it is the simple truth that when, today, we look for American art, we find it mainly in Paris. When we find it out of Paris, we at least find a great deal of Paris in it. https://www.studiointernational.com/index.php/americans-in-paris–1860-1900

Mary Stevenson Cassatt, American Artist, 1844 – 1926
Portrait of Alexander J. Cassatt and His Son, Robert Kelso Cassatt (Detail), 1884, Oil on
Canvas, 100.3 × 81.3 cm, Philadelphia Museum of Art, USA
https://www.gazette-drouot.com/en/article/mary-cassatt-the-franco-american/4732

How more affectionate can a father/son moment be! The great Alexander J. Cassatt is depicted sitting comfortably on a plush armchair reading his paper while his son Robert sits on the chair’s arm embracing him. Both portraits share similar characteristics… focused gazes, flushed cheeks, and black clothing. Mary Cassatt achieved to depict an intimate moment, the special bond between father and son, and the natural physical resemblance between them. Clad in black Alexander and Robert stand out, further emphasizing their tender rapport… Mary Cassatt’s famous double Portrait of Alexander Cassatt and Robert Cassatt was painted in December of 1884, during a surprise visit to Paris by her relatives. https://philamuseum.org/collection/object/104479

Mary Stevenson Cassatt, American Artist, 1844 – 1926
Portrait of Alexander J. Cassatt, 1880, Oil on Canvas, Pastel, 92.3×72 cm, Seattle Art Museum, USA https://commons.wikimedia.org/wiki/File:Mary_Cassatt_-_Portrait_of_Alexander_J._Cassatt_-_Seattle_Art_Museum.jpg

Alexander J. Cassatt was the first vice president of the Pennsylvania Railroad and one of the most powerful businessmen in the United States. He was also Cassatt’s beloved older brother, whom she painted on several occasions. Every time she did so, he is depicted casually posing in his sister’s house, a dear relative rather than a  famous public persona, absorbed in his thoughts, revealing both the kindness and formality that were attributed to him. In a letter home to the United States, Alexander’s wife wrote: “Mary has painted a very good portrait of Aleck for which he has been posing every morning for two hours for two weeks.” http://art.seattleartmuseum.org/objects/10259/portrait-of-alexander-j-cassatt;jsessionid=14B64D561385E3770309506FB79F6022

Mary Stevenson Cassatt, American Artist, 1844 – 1926
Portrait of Master Robert Kelso Cassatt, c. 1882, Oil on Canvas, 50x61cm, Private Collection https://www.sothebys.com/en/auctions/ecatalogue/2017/american-art-n09689/lot.45.html

Images of Mary Cassatt’s friends and family constitute a pivotal, according to the Sotheby’s experts, a component of the artist’s prolific body of work. Robert Kelso Cassatt was Mary’s favourite nephew and one of her favorite models. Robert first bonded with his expatriate aunt during the summer of 1880, when he visited the artist and his grandparents at their rented villa in Marly, in the countryside outside of Paris. Robert was not the easiest of Mary’s models… he wouldn’t sit still… but Cassatt grew fond of him, hoping for a time that he would become an artist himself… https://www.sothebys.com/en/auctions/ecatalogue/2017/american-art-n09689/lot.45.html

Happy Father’s Day

For a Student Activity on the Portrait of Alexander Cassatt and Robert Cassatt, please… Check HERE!