Dated Web objects 1840-1879

Advanced Search

Collection Info

Image Not Available

Last item added: 2007.1 Spencer, Home of the Red White and Blue

Filters

57 results

Portrait of Harriet

Jonathan Adams Bartlett

Date: c. 1840

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1992.14

Text Entries: Roughly contemporary, these two portraits each depict a member of the artist's family. Jonathan Adams Bartlett's "likeness" of his sister, Harriet, is exceptional in its inclusion of books-both in her hand and stacked on the table-a nod to the intellectual realm most associated with men. Though fashionably rouged and coifed, Harriet is nevertheless portrayed as actively seeking knowledge: her over-the-shoulder look at the viewer seems to indicate an interruption of activity-a moment captured-additionally emphasized by the tassel caught in mid-swing behind her. Likewise, Thomas Sully portrays his daughter Blanch with a fashionable hairstyle and headdress, which serve in effect to "crown" her head. Sully executed this canvas soon after returning home from painting the commissioned portrait of the young Queen Victoria. Interestingly, the twenty-one year old Blanch accompanied her father to London and often modeled in the queen's stead between sessions. The painting of Blanch serves as a visual poem to her intelligence, beauty and charm. Like Bartlett, Sully relied on visual symbols to convey an inner truth of individual character.

Captain J.L. Gardner's Son at Age 2-1/2

Joseph Whiting Stock

Date: 1842

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1992.132

Text Entries: Joseph Whiting Stock, the prolific itinerant New England painter, traveled in the region using a special wheelchair since an early childhood accident left him crippled. Stock learned to paint primarily through art manuals and became best known for his full-length portraits of children. His journals indicate that he earned an income of $6000 for 913 works of art, an exceptional amount for this period. Stock painted Captain J. L. Gardner's Son at Age 2- ½ during a sixteen-week stay in Bristol, Rhode Island where, according to Stock, "business was very dull." This fine portrait demonstrates Stock's style of heavily modeled facial features with parted lips and large eyes and lavish environment emphasized here by the deep red drapery, patterned carpet and fine furniture.

The Trap Sprung

William Sidney Mount

Date: 1844

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1992.52

Text Entries: (modified anniversary publication entry) Hailed by his contemporary critics as an original American artist, William Sidney Mount studied briefly at the National Academy of Design after a short apprenticeship as a sign maker. An ambitious painter, inventor, and entrepreneur who worked both in New York City and in rural Long Island Sound, Mount carefully developed his image as a homegrown talent. His paintings of everyday life rejected the high-culture demand for grand historical scenes made popular by European trends; his subsequent refusal to travel abroad for further study underscored Mount's commitment to the American scene. By the late 1830s one New York critic could rave that Mount was "a vigorous, untaught, untutored plant, who borrows from no one, imitates no one." Mount's familiar subjects of agrarian labor, childhood innocence, and Yankee ingenuity spoke directly to the American experience. Yet, despite their innocent veneer, Mount's works often deliver a deeper message. The Trap Sprung, for example, seems to celebrate the excitement of youthful anticipation, as two country boys rush to a rabbit trap to collect their prize. Painted in the years following the Panic of 1837, the informed contemporary viewer would not have failed to recognize Mount's veiled political message. In the aftermath of the economic crisis, the conservative Whig party sought to blame the populist-based Democrats for the nation's troubles, and thereby convert (or trap) the large Democratic electorate base to the Whig cause. Mount's use of a rabbit trap draws on the familiar association of "rabbit," or "hare," with the Whigs in popular joke books and suggests that the victim (the Democrat) was lured unsuspectingly by the trapper's (the Whig) unsophisticated, though effective, trapping technology. Alternatively known as The Dead Fall in reference to a type of trap that instantly kills its prey, Mount's painting would have had resonance as an image of rural life with a political message.

Double Portrait of Mary Cary and Susan Elizabeth Johnson

William Matthew Prior

Date: 1848

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1992.122

Text Entries: William Matthew Prior, artist and entrepreneur from Bath, Maine, intentionally painted in a flattened style. He advertised in the 1831 Maine Inquirer: "Persons wishing for a flat picture can have a likeness without shade or shadow at one quarter price." Noted for his versatility of style, Prior succeeded in obtaining numerous commissions for flat pictures due to their affordability and quick execution. Mary Cary and Susan Elizabeth Johnson from Provincetown, Massachusetts are painted in Prior's "flat" style. Broad, confident brushwork, lively surface pattern of the dresses as well as the encircling position of the girls' arms reveal his expert understanding of paint, design and composition. In addition to capturing the physical resemblance of the two girls, Prior used conventions to suggest a close familial relationship, such as the shared book, matching costumes and their proximity to one another.

The Promised Land - The Grayson Family

William S. Jewett

Date: 1850

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1999.79

Text Entries: William S. Jewett, the first artist established in California, depicted pioneer, artist, and naturalist Andrew Jackson Grayson with his family at the moment they first caught sight of the Sacramento valley. Posing the figures as a holy family, Jewett also likened the California landscape to the Promised Land, a metaphor for westward expansion.

Young Boy Holding a Bow and Arrow with a Drum on the Floor

William Matthew Prior

Date: by 1856

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1992.123

Text Entries: Brothers-in-law and portrait painters, William Matthew Prior and Sturtevant J. Hamblin lived together with their families in Boston by 1841. Many portraits have been attributed to both artists because they worked in a generally similar style and in close association in their shared workshop. Artists depicted toys to distinguish the gender of the child since boys and girls often wore the same style of clothes. Usually toys included in portraits of boys were associated with the world of adult males, for example, whips, wagons, or bow and arrows as shown in this portrait. Popularity of manufactured and handmade toys increased in the mid-nineteenth century reflecting the acceptance of child's play-previously considered idle activity.

Gloucester Harbor

Fitz Henry Lane

Date: 1856

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1993.21

Text Entries: Hemphill, Christopher. "Daniel Terra and His Collection." Town & Country (February 1984): 196. Southgate, M. Therese. "The Cover." The Journal of the American Medical Association 272:7 (August 17, 1994). Text p. 500; ill. cover (color). The Journal of the American Medical Association Japan (December 12, 1994): cover. Ill. cover (color). Gloucester Harbor, Fitz Hugh Lane. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, August 1995. Ill. (black & white). Cartwright, Derrick R. Waves and Waterways: American Perspectives, 1850–1900. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Text pp. 16, 27 (checklist); fig. 6, p. 16 (black & white). Cartwright, Derrick R. Rivières et rivages: les artistes américains, 1850–1900. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Text pp. 16, 27 (checklist); fig. 6, p. 16 (black & white). Bourguignon, Katherine M. and Elizabeth Kennedy. The People Work: American Perspectives, 1840–1940. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Foundation for the Arts, 2003. Text pp. 17, 28 (checklist); ill. p. 34 (color). Bourguignon, Katherine M. and Elizabeth Kennedy. Le Travail à l'oeuvre: les artistes américains, 1840–1940. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Foundation for the Arts, 2003. Text pp. 17, 28 (checklist); ill. p. 34 (color). Goldin, Marco. America! Storie di pittura dal Nuovo Mondo. (exh. cat., Museo di Santa Giulia, Brescia, Italy). Treviso, Italy: Linea d'ombra Libri, 2007. text p. 480 (checklist) Ill. cat. no. 34 pp. 111 (color), 480 (black & white as Il porto di Gloucester). “Gloucester Harbor, 1856 (inv. 75).” Fitz Henry Lane Online. Cape Ann Museum. Accessed January 27, 2016. <a href="http://fitzhenrylaneonline.org/catalog/entry.php?id=75" target="_blank"> http://fitzhenrylaneonline.org/catalog/entry.php?id=75</a>. Cat. no. 75.

Rail Shooting

William Tylee Ranney

Date: c. 1856–59

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1992.124

Text Entries: "Americans to 1875." Art Digest (April 15, 1942): 18. Text p. 18; ill. p. 18. Grubar, Francis. William Ranney: Painter of the Early West. (exh. cat., The Corcoran Gallery of Art). Washington, D.C.: The Corcoran Gallery of Art, 1962. No. 85, p. 45. Atkinson, D. Scott et al. A Proud Heritage: Two Centuries of American Art. Edited by Terry A. Neff. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Foundation for the Arts, 1987. Pl. T-19, p. 128 (color). Thistlewaite, Mark. William Tylee Ranney East of the Mississippi. (exh. cat., Brandywine River Museum). Chadds Ford, Pennsylvania: Brandywine River Museum, 1991. Text pp. 35, 82 (checklist); ill. p. 34 (black & white). Luhrs, Kathleen, ed. Forging an American Identity: The Art of William Ranney with a Catalogue of his Works. (exh, cat. Buffalo Bill Historical Center). Cody, Wyoming: Buffalo Bill Historical Center, 2006. Text pp. 167–168; ill. p. 169 (color). Neset, Arne. Arcadian Waters and Wanton Seas: The Iconology of Waterscapes in Nineteenth-Century Transatlantic Culture. New York, New York: Peter Lang Publishing, Inc., 2009. Text p. 147; Ill. p. 148 (black & white).

Almy Pond, Newport

John Frederick Kensett

Date: c. 1857

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1992.42

Text Entries: Executor’s Sale: The Collection of Over Five Hundred Paintings and Studies by the Late John F. Kensett… (exh. cat, National Academy of Design, New York, New York). New York, New York: National Academy of Design, 1873. Possibly text p. 33 (cat. no. 559). “Picture and Book Sales: The Kensett Art Sale.” The New-York Tribune, March 29, 1873, p. 7. Text p. 7. Atkinson, D. Scott et al. A Proud Heritage: Two Centuries of American Art. Edited by Terry A. Neff. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Foundation for the Arts, 1987. Pl. T-21, p. 130 (color). Collection Cameo, Terra Museum of American Art, Chicago, Illinois, February 1998. Ill. (black & white). Little, Carl. Paintings of New England. Camden, Maine: Down East Books, 1996. Ill. p. 46 (color). Almy Pond, Newport, John Frederick Kensett. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, February 1998. Ill. (black & white). Cartwright, Derrick R. Waves and Waterways: American Perspectives, 1850–1900. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Text p. 27 (checklist); ill. p. 29 (color). Cartwright, Derrick R. Rivières et rivages: les artistes américains, 1850–1900. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Text p. 27 (checklist); ill. p. 29 (color). Bourguignon, Katherine M. and Elizabeth Kennedy. An American Point of View: The Daniel J. Terra Collection. Chicago, Illinois: Terra Foundation for the Arts, 2002. Text p. 64; ill. p. 64 (black & white). Bourguignon, Katherine M. and Elizabeth Kennedy. Un regard transatlantique. La collection d'art américain de Daniel J. Terra. Chicago, Illinois: Terra Foundation for the Arts, 2002. Text p. 64; ill. p. 64 (black & white). Hauptman, William. Peindre l’Amérique. Le artistes du Nouveau Monde 1830-1900 [Painting America, artists of the New World (1830–1900)]. trans. Jeanne Bouniort. (exh. cat., Fondation de l’Hermitage, Lausanne, Switzerland). Lausanne: La Bibliothèque des Arts, 2014. Cat. 9, ill. p. 41 (color); Text pp. 40, 41, 178 (checklist). Bourguignon, Katherine M., and Peter John Brownlee, eds. Conversations with the Collection: A Terra Foundation Collection Handbook. Chicago: Terra Foundation for American Art, 2018. Text p. 60; ill. p. 60 (color).

Indian Attack

Eugene Benson

Date: 1858

Credit Line: Terra Foundation for American Art, Daniel J. Terra Art Acquisition Endowment Fund

Object number: 1999.6

Text Entries: The Magazine Antiques 153:5 (May 1998): 658. Ill. p. 658 (color). Brownlee, Peter John, Sarah Burns, Diane Dillon, Daniel Greene, and Scott Manning Stevens.Home Front: Daily Life in the Civil War North with a foreword by Adam Goodheart.(exh. Cat., Terra Foundation for American Art and Newberry Library). Chicago: University of Chicago Press, 2013. Text pp. 10, 48-50, 51, 159 (checklist); Fig. 26, p. 49 (color).

View of Boston Harbor

George Curtis

Date: 1860s

Credit Line: Terra Foundation for American Art, Gift of Mr. and Mrs. John Estabrook

Object number: C1983.2

Text Entries: "George Curtis: Coming to Light." Peabody Essex Museum Collections 129:4 (October 1993). Text pp. 387, 389; pl. 24 (color). Cash, Sarah. Ominous Hush: The Thunderstorm Paintings of Martin Johnson Heade. (exh. cat., Amon Carter Museum). Fort Worth, Texas: Amon Carter Museum, 1994. Text p. 48; fig. 25, p. 49 (black & white).

Our Banner in the Sky

Frederic Edwin Church

Date: 1861

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1992.27

Text Entries: Christie, Manson & Woods International Inc., New York, New York (Sale Jo Ann, December 8, 1978): lot 24. Text p. 16; ill. lot 24 (color). Burke, Doreen Bolger. “Frederic Edwin Church and ‘The Banner of Dawn.” The American Art Journal 14, no. 2 (Spring 1982): 39–46. Text p. 40, n. 1. Hemphill, Christopher. "Daniel Terra and His Museum." Town & Country (February 1984): 193–206. Text p. 196; ill. p. 193 (color). Sokol, David M. "The Terra Museum of American Art, Evanston, Illinois." The Magazine Antiques 126, no. 5 (November 1984): 1156–69. Text p. 1158; ill. p. 1158, Pl. VI (color). Atkinson, D. Scott et al. A Proud Heritage: Two Centuries of American Art. Edited by Terry A. Neff. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Foundation for the Arts, 1987. Text p. 137; ill. p. 137, pl. T-28 (color). Ragans, Rosalind. Art Talk. Mission Hills, California: Glencoe Publishing Company, 1988. Ill. p. 267. Our Banner in the Sky, Frederic Edwin Church. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, January 1991. Ill. (black & white). Kloss, William et al. America in Art: Fifty Great Paintings Celebrating Fifty Years. (exh. cat., Santa Barbara Museum of Art). Santa Barbara, California: Santa Barbara Museum of Art, 1991. Text p. 26; ill. cover (color detail), p. 27 (black & white). Southgate, M. Therese. "The Cover." The Journal of the American Medical Association 266:1 (July 3, 1991): 27. Text p. 27; ill. cover (color). Southgate, M. Therese. "The Cover." The Journal of the American Medical Association Czechoslovakia (1992): 15. Text p. 15; ill. cover (color). Rawson, Cynthia. "Frederic Edwin Church." Art Education (September 1992): 27–28. Text p. 27; ill. p. 28 (color). Purves, Alan C. et al. ScottForesman Literature and Integrated Studies: American Literature. Glenview, Illinois: ScottForesman, 1997. Ill. p. 377. Walker, Andrew. "American Art & the Civil War." American Art Review 11, no. 5 (1999): 126–31, 207. Text pp. 127, 131, 207 n. 4; ill. p. 126 (color). Cartwright, Derrick R. The Extraordinary and the Everyday: American Perspectives, 1820–1920. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2001. Text p. 22 (checklist); ill. p. 31 (color). Cartwright, Derrick R. L'Héroïque et le quotidian: les artistes américains, 1820–1920. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2001. Text p. 22 (checklist); ill. p. 31 (color). Conn, Steven and Andrew Walker. "The History in the Art: Painting the Civil War," in "Terrain of Freedom: American Art and the Civil War." Special issue, Museum Studies 27, no. 1 (2001): 60–81. Text p. 74; ill. cover, p. 73 (color). Bourguignon, Katherine M. and Elizabeth Kennedy. An American Point of View: The Daniel J. Terra Collection. Chicago, Illinois: Terra Foundation for the Arts, 2002. Text p. 76; ill. p. 76 (black & white). Bourguignon, Katherine M. and Elizabeth Kennedy. Un regard transatlantique. La collection d'art américain de Daniel J. Terra. Chicago, Illinois: Terra Foundation for the Arts, 2002. Text p. 76; ill. p. 76 (black & white). Kennedy, Elizabeth. "The Terra Museum of American Art." American Art Review (December 2002): 126–41. Text p. 131. Novak, Barbara. Voyages of the Self: Pairs, Parallels, and Patterns in American Art and Literature. New York: Oxford University Press, 2007. Text pp. 68-69; ill. p. 69, fig. 4.7 (black and white). Davidson, Susan, ed. Art in America: 300 Years of Innovation. (exh. cat., National Museum of China, Beijing; Shanghai Museum). New York, NY: Solomon R. Guggenheim Foundation; Chicago, IL: Terra Foundation for American Art, 2007. Text p. 104; ill. p. 96, fig. 46 (color). Art In America: 300 years of Innovation. Hong Kong: Wen Wei Publishing Co. Ltd, 2007. (in Chinese) Ill. pp. 44–45 (color). Davidson, Susan, ed. Art in America: 300 Years of Innovation. (exh. cat., National Museum of China, Beijing; Shanghai Museum). New York, NY: Solomon R. Guggenheim Foundation; Chicago, IL: Terra Foundation for American Art, 2007. (Chinese edition). Ill. p. 98 (color). Davidson, Susan, ed. Art in America: 300 Years of Innovation. (exh. cat., The Pushkin Museum of Fine Arts, Moscow, Russia). New York, NY: Solomon R. Guggenheim Foundation; Chicago, IL: Terra Foundation for American Art, 2007. (Russian edition). Ill. p. 77 (color). Davidson, Susan, ed. Art in the USA: 300 años de innovación. (exh. cat., Guggenheim Museum Bilbao). New York, NY: Solomon R. Guggenheim Foundation; Chicago, IL: Terra Foundation for American Art, 2007. (Spanish edition). Ill. p. 90 (color). Harrison, Alfred C., Jr. “Frederic Edwin Church’s Our Banner in the Sky: An Update on an American Icon.” The Magazine Antiques 184, no. 5 (November 2008): 150–151. Text pp. 150, 151 n. 9. Sharp, Kevin. Bold, Cautious, True: Walt Whitman and American Art of the Civil War Era. Memphis, TN: The Dixon Gallery and Gardens, 2009. Ill. p. 133 (color). Southgate, M. Therese. The Art of JAMA III: Covers and Essays from the Journal of the American Medical Association. Chicago, Illinois: American Medical Association, 2011. Text p. 48; ill. p. 49 (color). Bercovitch, Sacvan. The American Jeremiad. Madison, Wisconsin: University of Wisconsin Press, 1978, 2012. Ill. 2012 edition, front cover (color detail), back cover (color). Wilton, Andrew. Frederic Church and the Landscape Oil Sketch, (exh. cat. National Gallery, London). London, UK: National Gallery Company, 2013. Text pp. 19, 46; ill. p. 46, cat. no. 10 (color). Brownlee, Peter John, Sarah Burns, Diane Dillon, Daniel Greene, and Scott Manning Stevens. Home Front: Daily Life in the Civil War North. (exh. cat., Terra Foundation for American Art and Newberry Library). Chicago: University of Chicago Press, 2013. Text pp. 4–5, 6, 7, 129, 160 (checklist), 169n4 ; ill. cover, p. 6, fig. 6 (color). Pathways to Modernism: American Art, 1865-1945. (exh. cat. Shanghai Museum with Art Institute of Chicago and Terra Foundation for American Art). Shanghai: Shanghai Museum, 2018. Text p. 14; ill. p. 15 (color). Bourguignon, Katherine M., and Peter John Brownlee, eds. Conversations with the Collection: A Terra Foundation Collection Handbook. Chicago: Terra Foundation for American Art, 2018. Text p. 61; ill. p. 61 (color).