Dated Web objects before 1800 through 1839

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Portrait of Mrs. Myndert Myndertse (Jannetje-Persen) and Her Daughter, Sara

Pieter Vanderlyn

Date: c. 1741

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

Object number: 1992.138

Text Entries: Pieter Vanderlyn emigrated from the Netherlands to New York in 1718 and served as a ship surgeon, composer, land speculator, and portrait painter of the patroons-leading Dutch landholders of the upper Hudson River Valley region-from 1730 to 1750. Vanderlyn's painting is a rigid yet tender portrayal of a mother and child. The composition demonstrates Vanderlyn's awareness of earlier Dutch portraits he may have observed in the form of prints hung in Dutch households. Despite the influence of Dutch art, the painter executed this work when the region came under British rule. American taste shifted to a preference for English-style portraits that featured more relaxed poses and gestures, modestly attempted by Vanderlyn through the suggested affection of the mother for her child.

Portrait of a Lady in a Blue Dress

John Singleton Copley

Date: 1763

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

Object number: 1992.28

Text Entries: Bayley, Frank W. Sketch of the Life and a List of Some of the Works of John Singleton Copley. Boston, Massachusetts: Garden Press, 1910. P. 56. Bayley, Frank W. The Life and Works of John Singleton Copley: Founded on the Work of Augustus Thorndike Perkins. Boston, Massachusetts: The Taylor Press, 1915. P. 154. Park, B. N. and A. B. Wheeler. John Singleton Copley, American Portraits in Oil, Pastel and Miniature with Biographical Sketches. Boston, Massachusetts: Museum of Fine Arts, 1938. Text pp. 193–94; pl. 29. Hipkiss, E. J. M. and M. Karolik Collection of Eighteenth-Century American Arts. Boston, Massachusetts, 1941. Ill. no. 8, p. 17. Prown, Jules David. John Singleton Copley in America, 1738–1774. Cambridge, Massachusetts: Harvard University Press, 1966. Fig. 118 (black & white). American Paintings in the Museum of Fine Arts, Boston. Vol. 1–2. Boston, Massachusetts, 1969. Vol. 1, text no. 256, p. 60; Vol. 2, fig. 39. Adams, Henry. "Private Collector to Public Champion." Portfolio Magazine 5:1 (January/February 1983): 48–53. Ill. p. 52 (color). Nochlin, Linda. Woman. (exh. cat., Terra Museum of American Art). Evanston, Illinois: Terra Museum of American Art, 1984. No. 2, p. 12 (color). Sokol, David M. "The Terra Museum of American Art, Evanston, Illinois." The Magazine Antiques 126:5 (November 1984): 1156–69. Pl. I, p. 1156 (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. Pl. T-2, p. 111 (color). Portrait of a Lady in a Blue Dress, John Singleton Copley. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, September 1988. Ill. (black & white). 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. 42; ill. p. 42 (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. 42; ill. p. 42 (black & 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. (Chinese and English version; citing English version). Ill. p. 67 (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 version). Ill. p. 55 (color). Davidson, Susan, ed. Art in the USA: 300 años de innovación. (exh. cat., Guggenheim Museum Bilbao, Bilbao, Spain). New York, NY: Solomon R. Guggenheim Foundation; Chicago, IL: Terra Foundation for American Art, 2007. (Spanish version). Ill. p. 57 (color). Art Across America. (exh. cat., National Museum of Korea, Los Angeles County Museum of Art, The Museum of Fine Arts, Houston, Philadelphia Museum of Art and the Terra Foundation for American Art). Seoul, South Korea: National Museum of Korea, 2013. (English and Korean versions). Text p. 53; ill. p. 52 (color). America: Painting a Nation. (exh. cat., Art Gallery of New South Wales, the Los Angeles County Museum of Art, the Museum of Fine Arts, Houston, the National Museum of Korea, the Philadelphia Museum of Art and the Terra Foundation for American Art). Sydney, Australia: Art Gallery of New South Wales, 2013. Text p. 50; ill. cat. no. 2, p. 51 (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. 19; fig. 2, p. 20 (color).

Portrait of Mrs. John Stevens (Judith Sargent, later Mrs. John Murray)

John Singleton Copley

Date: 1770–72

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

Object number: 2000.6

Text Entries: Ostensibly commissioned on the occasion of her marriage at the age of eighteen, the portrait of the young Mrs. John Stevens serves as a commemoration of her youth and beauty and of her family's wealth. Fashionable in her uncorseted, draped satin dress and an exotic "oriental" turban on her head, she balances on her leg a basket of flowers, emblematic of love, beauty and fecundity. Today, the portrait, with its inclusion of formulaic associations to the "feminine," seems ironic: already a diligent diarist, Judith Sargent later became one of Boston's most celebrated writers and an activist for women's equality. Similar in subject is Frederick MacMonnies' painting of the young, intelligent and wealthy Alice Jones. MacMonnies depicts his future wife's fashionable persona; dressed in an elaborate, feathered hat and brilliant red dress, she sits against a blue-green tapestry in his studio. Rather than using emblems to convey meaning, MacMonnies' handling of paint-the bravura brushstrokes-not only animate the composition but also suggests the intensity of the sitter's personality. Yet, MacMonnies, like Copley, concerns himself less with a character study than with the external realities of the sitter's beauty and social position.

View of a Manor House on the Harlem River, New York

William Groombridge

Date: 1793

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

Object number: 1992.37

Text Entries: Comstock, Helen. "History in Houses: The Morris-Jumel Mansion in New York." The Magazine Antiques 109 (March 1951): 214–19. Fig. 5, p. 216 (black & white as Landscape). Henke, George. “Groombridge Painting.” Washington Headquarters Association Newsletter 1:6 (Fall-Winter 1978): 5 (as Scene on the Harlem River). American Art from the Colonial and Federal Periods. (exh. cat., Hirschl & Adler Galleries). New York: Hirschl & Adler Galleries, 1982. Text p. 58; ill. cover (color), ill. no. 45 (black & white). American Paintings III 1985. New York: Berry-Hill Galleries, Inc., 1985. Text p. 4; ill. p. 4 (black & white). Nygren, Edward J. and Bruce Robertson. Views and Visions: American Landscape before 1830. (exh. cat., Corcoran Gallery of Art). Washington, D.C.: The Corcoran Gallery of Art, 1986. Text p. 262; ill. p. 263 (black & white). 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-3, p. 112 (color). View of a Manor House on the Harlem River, New York, William Groombridge. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, January 1989. Ill. (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. 16, 28 (checklist); ill. p. 31 (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. 16, 28 (checklist); ill. p. 31 (color). Brownlee, Peter John. Manifest Destiny / Manifest Responsibility: Environmentalism and the Art of the American Landscape. (exh. cat., Loyola University Museum of Art, Chicago, Illinois). Chicago, Illinois: Terra Foundation for American Art and Loyola University Museum of Art, 2008. Text pp. 25, 35 (checklist); Ill. p. 22 (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 pp. 16-19; fig. 1, p. 17 (color).

Blind Fiddler

John Lewis Krimmel

Date: 1812

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

Object number: 1999.81

Text Entries: "Review of the Third Annual Exhibition of The Columbian Society of Artists and Pennsylvania Academy of the Fine Arts." The Portfolio 1 (July 1813): 138–39. Dunlap, William. A History of the Rise and Progress of the Arts of Design in the United States Vol. 2. Boston, Massachusetts: C. E. Goodspeed & Company, 1918. Text pp. 392–93. Jackson, Joseph. "Krimmel: The American Hogarth." International Studio 2 (June 1929): 33–36, 86. Text p. 86. Naeve, Milo. "John Lewis Krimmel: His Life, His Art and His Critics." Master's thesis, University of Delaware, 1955. Text pp. 65–70. Keyes, Donald. "The Sources for William Sidney Mount's Earliest Genre Paintings." Art Quarterly 32 (Autumn 1969): 259–60. Hills, Patricia. The Painter’s America: Rural and Urban Life, 1810–1910. New York: Praeger Publishers, in association with the Whitney Museum of American Art, 1974. Text p. 2. Hoover, Catherine. "The Influence of David Wilkie's Prints on the Genre Paintings of William Sidney Mount." American Art Journal 13, no. 3 (Summer 1981): 5–33. Text p. 6n8–7n8, 11–12. Christie's, New York, New York (Sale 5472, December 9, 1983): lot 5. Text p. 14; ill. p. 15, lot 5 (color). American Paintings III 1985. New York: Berry-Hill Galleries, Inc., 1985. Text p. 12; ill. p. 13 (color). The Magazine Antiques 130 (September 1986): 334. Text p. 334; ill. p. 334 (color). Naeve, Milo. John Lewis Krimmel: An Artist in Federal America. Newark, Delaware: University of Delaware Press, 1987. Text pp. 57, 71–73; ill. p. 72, no. 3 (black & white). Falk, Peter Hastings, ed. The Annual Exhibition Record of the Pennsylvania Academy of the Fine Arts. Madison, Connecticut: Sound View Press, 1988. Text p. 116, no. 119. Oedel, William T. “Review: Krimmel at the Crossroads.” Winterthur Portfolio 23, no. 4 (Winter 1988): 273–281. Text p. 279. Stewart, Robert G. “Review: John Lewis Krimmel: An Artist in Federal America. By Milo N. Naeve.” The Pennsylvania Magazine of History and Biography 113, no. 3 (July 1989): 467–469. Text p. 468. Harding, Anneliese. John Lewis Krimmel: Genre Painter of the Early Republic. Winterthur, Delaware: The Henry Francis du Pont Winterthur Museum, 1994. Text pp. 67, 70. 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 p. 28 (checklist); ill. p. 32 (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 p. 28 (checklist); ill. p. 32 (color). Harding, Annelise. “British and Scottish Models for the American Genre Paintings of John Lewis Krimmel.” Winterthur Portfolio 38, no. 4 (Winter 2003): 221–244. Text p. 227–230, 232, 238; ill. p. 229 (black & white). Dasch, Rowena Houghton. “’Now Exhibiting’: Charles Bird King’s Picture Gallery, Fashioning American Taste and Nation, 1824–1861.” PhD dissertation, The University of Texas at Austin, 2012. Text pp. xx, 187n8, 188–194; ill. p. 313, fig. 84 (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 pp. 80–82; fig. 1, p. 81 (color).

Blind Man's Buff

John Lewis Krimmel

Date: 1814

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

Object number: 1999.82

Text Entries: Dunlap, William. A History of the Rise and Progress of the Arts of Design in the United States. 3 Vol. New York: George P. Scott & Company, 1834. Vol. 2: text pp. 392–93. Jackson, Joseph. "Krimmel, 'The American Hogarth.'" International Studio (June 1929): 33–37, 86. Text p. 37. Naeve, Milo. "John Lewis Krimmel: His Life, His Art and His Critics." Master's thesis. Newark, Delaware: University of Delaware, 1955. The Magazine Antiques 124 (November 1983): 875. Ill. (color). Christie's, New York, New York (Sale 5472, December 9, 1983): lot 5. Text p. 14; ill. lot 5, p. 15 (color). Sokol, David M. "The Terra Museum of American Art, Evanston, Illinois." The Magazine Antiques 126:5 (November 1984): 1156–69. Pl. II, p. 1156 (color). Naeve, Milo. John Lewis Krimmel: An Artist in Federal America. Newark, Delaware: University of Delaware Press, 1987. Ill. no. 5, p. 75 (black & white). 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. 118; pl. T-9, p. 118 (color). Brazeau, Linda. Art of an Emergent Nation: American Painting 1775–1865. (exh. cat., University of Wisconsin-Milwaukee). Milwaukee, Wisconsin: University of Wisconsin-Milwaukee Art Museum, 1988. Text p. 15; ill. p. 24 (black & white as Blind Man's Bluff). Blind Man's Buff, John Lewis Krimmel. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, October 1988. Ill. (black and white). Harding, Anneliese. John Lewis Krimmel: Genre Artist of the Early Republic. Winterthur, Delaware: The Henry Francis du Pont Winterthur Museum, 1994. Text pp. 67, 70; ill. p. 68 (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. 23 (checklist); ill. p. 25 (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. 23 (checklist); ill. p. 25 (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. 62; ill. opposite p. 62 (color). Art Across America. (exh. cat., National Museum of Korea, Los Angeles County Museum of Art, The Museum of Fine Arts, Houston, Philadelphia Museum of Art and the Terra Foundation for American Art). Seoul, South Korea: National Museum of Korea, 2013. (English and Korean versions). Text pp. 35, 143; ill. fig. 18, p. 36 (color), p. 142 (color). America: Painting a Nation. (exh. cat., Art Gallery of New South Wales, the Los Angeles County Museum of Art, the Museum of Fine Arts, Houston, the National Museum of Korea, the Philadelphia Museum of Art and the Terra Foundation for American Art). Sydney, Australia: Art Gallery of New South Wales, 2013. Text p. 78; ill. cat. no. 13, p. 79 (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. 27; ill. p. 27 (color).

In the Adirondacks

Thomas Doughty

Date: c. 1822–30

Credit Line: Terra Foundation for American Art, Gift of Laurence and Ronnie Robbins

Object number: 2002.1

Text Entries: Brownlee, Peter John. Manifest Destiny / Manifest Responsibility: Environmentalism and the Art of the American Landscape. (exh. cat., Loyola University Museum of Art, Chicago, Illinois). Chicago, Illinois: Terra Foundation for American Art and Loyola University Museum of Art, 2008. Text p. 35 (checklist).

George Washington, Porthole Portrait

Rembrandt Peale

Date: after 1824

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

Object number: 1992.53

Text Entries: A bust in an oval frame shows a man with a frank and determined look on his face and his eyes fixed on the horizon.He seems to embody greatness and virtue. It is George Washington, hero of the struggle for independence and first president of the United States. Elected in 1789, he died just ten years later. Rembrandt Peale is one of the members of an illustrious family of painters who stood at the forefront of the American artistic scene at the end of the eighteenth century and the beginning of the nineteenth. He is the author of great historical works, but he principally painted portraits, hoping to raise the genre to the status of a noble art. During his sojourn in France in 1810, he was able to meet Jacques-Louis David, the preeminent French history painter. After 1840, he devoted himself to variations on the portrait of George Washington, of which more than 65 versions are known today. The sitter is no ordinary man, but a hero who embodies the glory of a young nation. Unlike other portraitists of his time, Peale attached little importance to the individual details of his sitter's features and instead established a balance between physical resemblance and the idealization of a historical personage. Washington seems to emerge from the darkness and look toward the light. This portrait is surrounded by a trompe-l'oeil stone frame, here a reference to antiquity, which places Washington beyond the common man and binds him to a past that assures the unity of the country.

Landscape with Figures: A Scene from "The Last of the Mohicans"

Thomas Cole

Date: 1826

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

Object number: 1993.2

Text Entries: (modified anniversary publication entry) The English-born painter Thomas Cole, a key figure of the Hudson River School, recognized the epic potential of the American landscape. On his arrival in Philadelphia at the age of seventeen, he had already been apprenticed to an engraver and soon turned his interest to painting. He later moved to New York City and, inspired by the magnificent vistas along the Hudson River, began to define landscape as a spiritual subject that could transcend its function as a mere topographical record. In this way, Cole contributed to the romantic transformation of landscape painting from documentary and picturesque views into a discourse on the human experience set against the enduring forces of nature, elevating the once modest genre of landscape painting to an expression of the heroic sublime. In Landscape with Figures: A Scene from "The Last of the Mohicans" the human figures are dwarfed by an awe-inspiring vista of towering mountains and an expansive sky. Cole portrays the denouement of James Fenimore Cooper's newly published, popular novel The Last of the Mohicans (1826). The painting visualizes the novel's climactic scene in which the hero frontiersman Hawkeye aims his shotgun at Magua, the native villain, who tries to flee down a cliff. Cora Munro, the heroine of the novel, after being kidnapped and brutalized by Magua, lies dying at Hawkeye's feet. The grandeur of Cole's autumnal wilderness of scarlet leaves and wild rushing mountain streams overwhelms the narrative, however, reminding the viewer that there are greater forces in the universe than human conflict and desire.

Mary Elizabeth Smith

Ammi Phillips

Date: 1827

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

Object number: 1992.56

Text Entries: Ammi Phillips, from Colebrook, Connecticut, advertised as an itinerant painter in New England newspapers, describing his ability to capture: "a correct style, perfect shadows, and elegant dresses." To promote a pleasing likeness, Phillips offered to supply costumes for his subjects-also a practice of painter Erastus Salisbury Field. Phillips developed a strong clientele base by integrating himself into various communities long enough to be considered the logical choice for portrait commissions. Phillips painted the fair-skinned, six-month old Mary Elizabeth Smith (later Mrs. S. Canfield) an only child from Orange County, New York, against the reddish-black "mulberry" colored background typical of his 1820s works. This painting, representative of the history of many folk portraits, remained in the family before entering the Terra Foundation for the Arts collection. The baby, wearing a delicately rendered white eyelet dress and bonnet, clasps a sprig of ripening strawberries, symbolizing her gender and youth. Children and adults of the nineteenth century often wore coral necklaces for adornment although they previously signified protection against illness and misfortune.

A Peaceable Kingdom with Quakers Bearing Banners

Edward Hicks

Date: c. 1829-1830

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

Object number: 1993.7

Text Entries: (modified anniversary publication entry) Edward Hicks gained a reputation in his community for his work as an ornamental painter and his outspoken participation in the Society of Friends, popularly known as the Quakers. A lifelong resident of rural Bucks County, Pennsylvania, Hicks had a limited formal education. At the age of thirteen, he apprenticed to a coach painter. Later he married and set up shop painting signs, coaches, and other utilitarian objects. This profession was in conflict with the spare life advocated by his faith, and his increasing activity as a traveling minister kept him away from his business. Why or when Hicks turned to easel painting is unknown, but about 1820 he began to explore an allegorical subject that he found infinitely variable and satisfying. A Peaceable Kingdom with Quakers Bearing Banners portrays the tolerant coexistence among all the animals and humanity described in Isaiah 11: 6-9. Depicting wildness calmed by gentleness and worldliness tempered by innocence, the message of the Peaceable Kingdom became for Hicks a form of testament, a painted articulation of his deepest beliefs. A Peaceable Kingdom with Quakers Bearing Banners places Hicks at the center of a religious controversy that split the Quakers into factions. Hicks' elderly cousin Elias promoted an extreme form of Quaker quietism, in which the faithful were urged to discard all but the most basic elements of daily life to open themselves to divine grace and be guided by the Inward Light of Christ. Elias and his followers, known as Hicksites, withdrew from the Quaker Orthodoxy, prompting accusations of heresy. A series of one hundred Banner paintings by Hicks announce his solidarity with his cousin's beliefs, while calling for peaceful coexistence among the factions. Standing in the front row of the figures at the left and holding a handkerchief he used to mop his brow when preaching, Elias Hicks is accompanied by George Washington and William Penn. The Apostles stand behind them. The banners read "mind the LIGHT within IT IS GLAD TIDEING of Grate Joy PEACE ON EARTH GOOD WILL to ALL MEN everywhere," the words of the Apostle Luke and a basic tenet of the Quaker faith.

Gallery of the Louvre

Samuel F. B. Morse

Date: 1831–33

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

Object number: 1992.51

Text Entries: Samuel F. B. Morse championed the fine arts in the United States but believed there were benefits from studying the best examples of Old World culture. He conceived Gallery of the Louvre as an instructive lesson on European painting that would tour the United States. During its brief exhibition in New York City, however, the painting failed to attract an audience. Its mostly Protestant viewers, schooled in democratic principles, had misgivings when confronted with art that endorsed monarchy, an aristocratic elite and Catholicism. American art lovers, though, were already familiar with European art that had been transformed by American artists to suit the needs of a newly founded Republic-landscapes, portraits and, surprisingly, religious motifs. These European prototypes are found in the miniaturized paintings incorporated in Gallery of the Louvre and can be compared to their American adaptations. Although he employed the compositional techniques of Nicolas Poussin's (1594-1665) "classical landscape" painting, William Groombridge's View of a Manor House-which depicts the site of George Washington's headquarters for the first victory in the Revolutionary War-reinterprets an ideal landscape as democratic. Portraiture was easily adjusted to serve a democracy, whose free market system celebrated the individual. The enigmatic smile of Thomas Sully's beautiful daughter Blanch suggests a comparison with Leonardo da Vinci's (1452-1519) portrait of Mona Lisa. Erastus Field's naïve-style portrait of Clarissa Cook, commissioned by her well-to-do family, provides clues to her family's material success in the same manner as Peter Paul Rubens's (1577-1640) elegant portrayal of a wealthy businessman's wife. Portraits of children celebrate both the individual while also serving as a symbol for the young country, as seen in itinerant painter Ammi Phillips's portrait of Mary Elizabeth Smith. In a similar fashion, Bartolomé Murillo's (1617-1682) naturalistic portrayal in A Beggar Boy represents an idealized childhood that serves as a Spanish national emblem. Genre subjects were introduced into American art through engravings of seventeenth and eighteenth century Dutch and British scenes of daily life. Using familiar figures and their gestures found in European art, John Lewis Krimmel in Blind Man's Buff created a new art form that suited the needs of a new democratic state. Revisiting a theme associated with Catholic art, many examples of which are found in Morse's picture, John James Barralet's Apotheosis of Washington demonstrates the difficulty in transforming a biblical image to honor a cultural hero. Likewise, while Morse's grand experiment to teach art history through Gallery of the Louvre met resistance, he succeeded in creating an icon of transatlantic cultural exchange.