Skip to main content
Collections Menu

Dated Web objects before 1800 through 1839

Sort:
Filters
24 results
metadata embedded, 2020
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.
Metadata Embedded, 2017
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. <i>Sketch of the Life and a List of Some of the Works of John Singleton Copley</i>. Boston, Massachusetts: Garden Press, 1910. P. 56.<br><br> Bayley, Frank W. <i>The Life and Works of John Singleton Copley: Founded on the Work of Augustus Thorndike Perkins</i>. Boston, Massachusetts: The Taylor Press, 1915. P. 154.<br><br> Park, B. N. and A. B. Wheeler. <i>John Singleton Copley, American Portraits in Oil, Pastel and Miniature with Biographical Sketches</i>. Boston, Massachusetts: Museum of Fine Arts, 1938. Text pp. 193–94; pl. 29.<br><br> Hipkiss, E. J. <i>M. and M. Karolik Collection of Eighteenth-Century American Arts</i>. Boston, Massachusetts, 1941. Ill. no. 8, p. 17.<br><br> Prown, Jules David. <i>John Singleton Copley in America, 1738–1774</i>. Cambridge, Massachusetts: Harvard University Press, 1966. Fig. 118 (black & white). <br><br> <i>American Paintings in the Museum of Fine Arts, Boston</i>. Vol. 1–2. Boston, Massachusetts, 1969. Vol. 1, text no. 256, p. 60; Vol. 2, fig. 39.<br><br> Adams, Henry. "Private Collector to Public Champion." <i>Portfolio Magazine</i> 5:1 (January/February 1983): 48–53. Ill. p. 52 (color).<br><br> Nochlin, Linda. <i>Woman</i>. (exh. cat., Terra Museum of American Art). Evanston, Illinois: Terra Museum of American Art, 1984. No. 2, p. 12 (color).<br><br> Sokol, David M. "The Terra Museum of American Art, Evanston, Illinois." <i>The Magazine Antiques</i> 126:5 (November 1984): 1156–69. Pl. I, p. 1156 (color). <br><br> Atkinson, D. Scott et al. <i>A Proud Heritage: Two Centuries of American Art</i>. 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).<br><br> <i>Portrait of a Lady in a Blue Dress</i>, John Singleton Copley. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, September 1988. Ill. (black & white).<br><br> Bourguignon, Katherine M. and Elizabeth Kennedy. <i>An American Point of View: The Daniel J. Terra Collection</i>. Chicago, Illinois: Terra Foundation for the Arts, 2002. Text p. 42; ill. p. 42 (black & white).<br><br> Bourguignon, Katherine M. and Elizabeth Kennedy. <i>Un regard transatlantique. La collection d'art américain de Daniel J. Terra</i>. Chicago, Illinois: Terra Foundation for the Arts, 2002. Text p. 42; ill. p. 42 (black & white).<br><br> Davidson, Susan, ed. <i>Art in America: 300 Years of Innovation</i>. (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).<br><br> Davidson, Susan, ed. <i>Art in America: 300 Years of Innovation</i>. (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).<br><br> Davidson, Susan, ed. <i>Art in the USA: 300 años de innovación</i>. (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).<br><br> <i>Art Across America</i>. (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).<br><br> <i>America: Painting a Nation</i>. (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).<br><br> Bourguignon, Katherine M., and Peter John Brownlee, eds. <i>Conversations with the Collection: A Terra Foundation Collection Handbook.</i> Chicago: Terra Foundation for American Art, 2018. Text p. 19; fig. 2, p. 20 (color).<br><br>
Metadata Embedded, 2019
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.
Metadata Embedded, 2017
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." <i>The Magazine Antiques</i> 109 (March 1951): 214–19. Fig. 5, p. 216 (black & white as <i>Landscape</i>).<br><br> Henke, George. “Groombridge Painting.” <i>Washington Headquarters Association Newsletter</i> 1:6 (Fall-Winter 1978): 5 (as <i>Scene on the Harlem River</i>).<br><br> <i>American Art from the Colonial and Federal Periods</i>. (exh. cat., Hirschl & Adler Galleries). New York: Hirschl & Adler Galleries, 1982. Text p. 58; ill. cover (color), ill. no. 45 (black & white).<br><br> <i>American Paintings III 1985</i>. New York: Berry-Hill Galleries, Inc., 1985. Text p. 4; ill. p. 4 (black & white).<br><br> Nygren, Edward J. and Bruce Robertson. <i>Views and Visions: American Landscape before 1830</i>. (exh. cat., Corcoran Gallery of Art). Washington, D.C.: The Corcoran Gallery of Art, 1986. Text p. 262; ill. p. 263 (black & white).<br><br> Atkinson, D. Scott et al. <i>A Proud Heritage: Two Centuries of American Art</i>. 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).<br><br> <i>View of a Manor House on the Harlem River, New York,</i> William Groombridge. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, January 1989. Ill. (black & white).<br><br> Bourguignon, Katherine M. and Elizabeth Kennedy. <i>The People Work: American Perspectives, 1840–1940</i>. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Foundation for the Arts, 2003. Text pp. 16, 28 (checklist); ill. p. 31 (color). <br><br> Bourguignon, Katherine M. and Elizabeth Kennedy. <i>Le Travail à l'oeuvre: les artistes américains, 1840–1940</i>. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Foundation for the Arts, 2003. Text pp. 16, 28 (checklist); ill. p. 31 (color).<br><br> Brownlee, Peter John. <i>Manifest Destiny / Manifest Responsibility: Environmentalism and the Art of the American Landscape</i>. (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).<br><br> Bourguignon, Katherine M., and Peter John Brownlee, eds. <i>Conversations with the Collection: A Terra Foundation Collection Handbook.</i> Chicago: Terra Foundation for American Art, 2018. Text pp. 16-19; fig. 1, p. 17 (color).<br><br>
Portrait of Wilhelm Witz and His Pet Dogs
Jacob Maentel
Date: c. 1810
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1999.93
Text Entries: The inclusion of German calligraphic inscriptions "Copenhagen Waltzes" and "Eat, Drink and Be Merry to All" in the watercolor portrait of Wilhelm Witz aligns this work with the fraktur tradition-a Pennsylvania German-American art form comprising painted birth, marriage or baptismal certificates with distinctive, decorative lettering. Witz, a smartly clad gentleman with appropriately formal everyday costume-tailcoat and top hat-appears opposite two dogs, one likewise accessorized with a decorative collar of spiked metalwork, against a small hilly landscape. Several objects allude to the celebratory nature of this picture. These include red wine, or possibly Marzen, a reddish-amber German beer; oysters (symbols of good fortune and a popular dish peddled throughout New England beginning in 1800) and the decorated tambourine Witz holds, an instrument associated with rejoicing and happiness.
Metadata Embedded, 2018
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." <i>The Portfolio</i> 1 (July 1813): 138–39.<br><br> Dunlap, William. <i>A History of the Rise and Progress of the Arts of Design in the United States</i> Vol. 2. Boston, Massachusetts: C. E. Goodspeed & Company, 1918. Text pp. 392–93.<br><br> Jackson, Joseph. "Krimmel: The American Hogarth." <i>International Studio</i> 2 (June 1929): 33–36, 86. Text p. 86.<br><br> Naeve, Milo. "John Lewis Krimmel: His Life, His Art and His Critics." Master's thesis, University of Delaware, 1955. Text pp. 65–70.<br><br> Keyes, Donald. "The Sources for William Sidney Mount's Earliest Genre Paintings." <i>Art Quarterly</i> 32 (Autumn 1969): 259–60.<br><br> Hills, Patricia. <i>The Painter’s America: Rural and Urban Life, 1810–1910</i>. New York: Praeger Publishers, in association with the Whitney Museum of American Art, 1974. Text p. 2.<br><br> Hoover, Catherine. "The Influence of David Wilkie's Prints on the Genre Paintings of William Sidney Mount." <i>American Art Journal</i> 13, no. 3 (Summer 1981): 5–33. Text p. 6n8–7n8, 11–12.<br><br> Christie's, New York, New York (Sale 5472, December 9, 1983): lot 5. Text p. 14; ill. p. 15, lot 5 (color). <br><br> <i>American Paintings III 1985</i>. New York: Berry-Hill Galleries, Inc., 1985. Text p. 12; ill. p. 13 (color).<br><br> <i>The Magazine Antiques</i> 130 (September 1986): 334. Text p. 334; ill. p. 334 (color). <br><br> Naeve, Milo. <i>John Lewis Krimmel: An Artist in Federal America</i>. Newark, Delaware: University of Delaware Press, 1987. Text pp. 57, 71–73; ill. p. 72, no. 3 (black & white). <br><br> Falk, Peter Hastings, ed. <i>The Annual Exhibition Record of the Pennsylvania Academy of the Fine Arts</i>. Madison, Connecticut: Sound View Press, 1988. Text p. 116, no. 119.<br><br> Oedel, William T. “Review: Krimmel at the Crossroads.” <i>Winterthur Portfolio</i> 23, no. 4 (Winter 1988): 273–281. Text p. 279.<br><br> Stewart, Robert G. “Review: <i>John Lewis Krimmel: An Artist in Federal America</i>. By Milo N. Naeve.” <i>The Pennsylvania Magazine of History and Biography</i> 113, no. 3 (July 1989): 467–469. Text p. 468.<br><br> Harding, Anneliese. <i>John Lewis Krimmel: Genre Painter of the Early Republic</i>. Winterthur, Delaware: The Henry Francis du Pont Winterthur Museum, 1994. Text pp. 67, 70.<br><br> Bourguignon, Katherine M. and Elizabeth Kennedy. <i>The People Work: American Perspectives, 1840–1940</i>. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Foundation for the Arts, 2003. Text p. 28 (checklist); ill. p. 32 (color).<br><br> Bourguignon, Katherine M. and Elizabeth Kennedy. <i>Le Travail à l'oeuvre: les artistes américains, 1840–1940</i>. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Foundation for the Arts, 2003. Text p. 28 (checklist); ill. p. 32 (color).<br><br> Harding, Annelise. “British and Scottish Models for the American Genre Paintings of John Lewis Krimmel.” <i>Winterthur Portfolio</i> 38, no. 4 (Winter 2003): 221–244. Text p. 227–230, 232, 238; ill. p. 229 (black & white).<br><br> 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).<br><br> Bourguignon, Katherine M., and Peter John Brownlee, eds. <i>Conversations with the Collection: A Terra Foundation Collection Handbook.</i> Chicago: Terra Foundation for American Art, 2018. Text pp. 80–82; fig. 1, p. 81 (color).<br><br>
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. <i>A History of the Rise and Progress of the Arts of Design in the United States</i>. 3 Vol. New York: George P. Scott & Company, 1834. Vol. 2: text pp. 392–93.<br><br> Jackson, Joseph. "Krimmel, 'The American Hogarth.'" <i>International Studio</i> (June 1929): 33–37, 86. Text p. 37. <br><br> Naeve, Milo. "John Lewis Krimmel: His Life, His Art and His Critics." Master's thesis. Newark, Delaware: University of Delaware, 1955. <br><br> <i>The Magazine Antiques</i> 124 (November 1983): 875. Ill. (color). <br><br> Christie's, New York, New York (Sale 5472, December 9, 1983): lot 5. Text p. 14; ill. lot 5, p. 15 (color).<br><br> Sokol, David M. "The Terra Museum of American Art, Evanston, Illinois." <i>The Magazine Antiques</i> 126:5 (November 1984): 1156–69. Pl. II, p. 1156 (color). <br><br> Naeve, Milo. <i>John Lewis Krimmel: An Artist in Federal America</i>. Newark, Delaware: University of Delaware Press, 1987. Ill. no. 5, p. 75 (black & white). <br><br> Atkinson, D. Scott et al. <i>A Proud Heritage: Two Centuries of American Art</i>. 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).<br><br> Brazeau, Linda. <i>Art of an Emergent Nation: American Painting 1775–1865</i>. (exh. cat., University of Wisconsin-Milwaukee). Milwaukee, Wisconsin: University of Wisconsin-Milwaukee Art Museum, 1988. Text p. 15; ill. p. 24 (black & white as <i>Blind Man's Bluff</i>). <br><br> <i>Blind Man's Buff, </i>John Lewis Krimmel. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, October 1988. Ill. (black and white). <br><br> Harding, Anneliese. <i>John Lewis Krimmel: Genre Artist of the Early Republic</i>. Winterthur, Delaware: The Henry Francis du Pont Winterthur Museum, 1994. Text pp. 67, 70; ill. p. 68 (color). <br><br> Cartwright, Derrick R. <i>The Extraordinary and the Everyday: American Perspectives, 1820–1920</i>. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2001. Text p. 23 (checklist); ill. p. 25 (color).<br><br> Cartwright, Derrick R. <i>L'Héroïque et le quotidian: les artistes américains, 1820–1920</i>. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2001. Text p. 23 (checklist); ill. p. 25 (color). <br><br> Southgate, M. Therese. </i>The Art of JAMA III: Covers and Essays from the Journal of the American Medical Association. Chicago, Illinois: American Medical Association</i>, 2011. Text p. 62; ill. opposite p. 62 (color).<br><br> <i>Art Across America</i>. (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).<br><br> <i>America: Painting a Nation</i>. (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).<br><br> Bourguignon, Katherine M., and Peter John Brownlee, eds. <i>Conversations with the Collection: A Terra Foundation Collection Handbook.</i> Chicago: Terra Foundation for American Art, 2018. Text p. 27; ill. p. 27 (color).<br><br>
Woman in Profile with a Flower
Jacob Maentel
Date: c. 1815
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1999.94
Text Entries: Since the landscape appears diminutive, with small arched hills, tiny shrubs and trees-a formula often used by Maentel-the figure appears commanding and monumental, drawing attention to her costume, coiffure and likeness. This portrait reflects the popular trend in fashion, from 1800-1820, of modish dress with raised waistlines and soft gathers and intricate hairstyle.
Young Woman with Flowers in Her Hair
Emily Eastman
Date: c. 1820–30
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1999.51
Text Entries: During the 1820s-1830s, Emily Eastman, of Louden, New Hampshire, painted watercolor portraits adapted from prints. The flattened design of Young Woman with Flowers in Her Hair-the boldly arched eyebrows, porcelain-like, expressionless face and the corkscrew curls of her hair-is an accomplished yet stylized characterization. There were few women itinerant artists active in the nineteenth century. Ladies' journals such as the popular Domestic Duties, by Frances Byerly Parke, encouraged drawing as an "appropriate morning activity" for middle-class women desiring refinement.
metadata embedded, 2019
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. <i>Manifest Destiny / Manifest Responsibility: Environmentalism and the Art of the American Landscape</i>. (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).
Metadata Embedded, 2019
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.
Child with Rose
Jacob Maentel
Date: 1825–39
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1999.92
Text Entries: Flowers and pets frequently appeared in folk portraits of children. Often these have symbolic meaning, such as the rose, a convention used to indicate the female gender. Approximately seventy-five percent of all nineteenth-century images of children are posthumous mourning portraits due to the high mortality rate of the period. The seeming weightlessness and stiff quality of this figure shown standing against a rose-tinted sky (an indicator of death) suggest this painting maybe a memorial to a daughter. Other mourning portraits feature leafless trees, drooping flowers, empty baby shoes, chairs, or cradle.