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NEWAMIMAGESDATES
NEWAMIMAGES
| Question | Answer | |||||
|---|---|---|---|---|---|---|
| <img src="paste4wmm6b.jpg" /> | 1765 | Boy with Squirrel | John Singleton Copley (1738 -1815) | * Genre and portrait * Tour de force within his mature style | 18thCenturyPortraits | |
| <img src="pastehf13gu.jpg" /> | 1758 -60 | Thaddeus Burr | John Singleton Copley (1738 -1815) | * The Rococo style learns from Blackburn; liberated his innate abilites as a colorist | 18thCenturyPortraits | |
| <img src="pasteucuz_j.jpg" /> | 1759 -61 | Epes Sargent | John Singleton Copley (1738 -1815) | 18thCenturyPortraits | ||
| <img src="pasteqcexn6.jpg" /> | 1763 | Mrs. Daniel Sargent | John Singleton Copley (1738 -1815) | 18thCenturyPortraits | ||
| <img src="pastes4gfxo.jpg" /> | 1764 | Mrs. Daniel Hubbard | John Singleton Copley (1738 -1815) | 18thCenturyPortraits | ||
| <img src="pastetj8eiz.jpg" /> | 1766 | Mrs. Thomas Boylston | John Singleton Copley (1738 -1815) | 18thCenturyPortraits | ||
| <img src="pastek1yl7r.jpg" /> | 1767 | Young Lady with a Bird and Dog | John Singleton Copley (1738 -1815) | 18thCenturyPortraits | ||
| <img src="pasteiwml8s.jpg" /> | 1768 c | Paul Revere | John Singleton Copley (1738 -1815) | * Informal/unusual pose; never repeated | 18thCenturyPortraits | |
| <img src="pasterpdf59.jpg" /> | 1769 | Isaac Smith | John Singleton Copley (1738 -1815) | * Success wasn't only in his ability to depict realistically external appearances etc, butalso his ability to catpure the profound realism of people as human beings | 18thCenturyPortraits | |
| <img src="pastefs1vdi.jpg" /> | 1769 | Mrs. Isaac Smith | John Singleton Copley (1738 -1815) | 18thCenturyPortraits | ||
| <img src="pastescsqet.jpg" /> | 1771 | Mrs. Goldthwaite | John Singleton Copley (1738 -1815) | * Martin thinks one of his finest character studies * With this portrait Copley was seldom more skillful treatment of light/shade | 18thCenturyPortraits | |
| <img src="pastemtlqju.jpg" /> | 1771 | Daniel Verplank | John Singleton Copley (1738 -1815) | 18thCenturyPortraits | ||
| <img src="pastersrkug.jpg" /> | 1771 | Mrs. Humphrey Devereux | John Singleton Copley (1738 -1815) | * Translation of what Copley sees onto the canvas itself * Masterpiece of late, dramatic, American style | 18thCenturyPortraits | |
| <img src="paste24tq22.jpg" /> | 1773 | Mr. and Mrs. Thomas Mifflin | John Singleton Copley (1738 -1815) | * Combo of portrait/genre | 18thCenturyPortraits | |
| <img src="pasteldebwq.jpg" /> | 1775 c | Mrs. Seymour Fort | John Singleton Copley (1738 -1815) | - Beginning of English period | 18thCenturyPortraits | |
| <img src="paste0zpku3.jpg" /> | 1776 -77 | The Copley Family | John Singleton Copley (1738 -1815) | - &"The Grand Manner&" | 18thCenturyPortraits | |
| <img src="pasteadxx_w.jpg" /> | 1785 | The Three Youngest Daughters of George III | John Singleton Copley (1738 -1815) | 18thCenturyPortraits | ||
| <img src="pasteud9uyc.jpg" /> | 1778 | Watson and the Shark | John Singleton Copley (1738 -1815) | - Qualifies as history painting - Learns how to fuse poetic imagination and fact *1st depiction of a black man by a great American artist in which the black man is ~ a stereotype * Earliest instance of identifiable American contribution to the developmen | 18thCenturyPortraits | |
| <img src="pastechsfkg.jpg" /> | 1778 c | Black Man | John Singleton Copley (1738 -1815) | - Realism w/o prejudice | 18thCenturyPortraits | |
| <img src="pastewsy9r3.jpg" /> | 1782 -84 | Death of Major Peirson | John Singleton Copley (1738 -1815) | - Popular contemporary subject - High minded drama * Marked a zenith in his career | 18thCenturyPortraits | |
| <img src="pastemjee3j.jpg" /> | 1777 c | Roger Sherman | Ralph Earl (1751 -1801) | * His masterpiece; before he left for London - Copley influence * One of the + impressive American paintings | 18thCenturyPortraits | |
| <img src="pastenilpln.jpg" /> | 1756 | The Death of Socrates | Benjamin West (1738 -1820) | - no Euro artists concieved of this approach until Oath of the Horatii = 30 years later | 18thCenturyPortraits | |
| <img src="pastemej8ca.jpg" />? | 1759 | Thomas Mifflin | Benjamin West (1738 -1820) | - Wollaston's influence * Last painting before leaving America | 18thCenturyPortraits | |
| <img src="pastefbirxw.jpg" /> | 1767 -68 | Agrippina Landing at Brundisium with the Ashes of Germanicus | Benjamin West (1738 -1820) | * 1st English commission for history painting * Principles of new Neoc style is evident (prefigures French Neoc) - Moralizing message/classical subject ~ new in 18th; NEW = accuracy to Roman depiction - Based on Ara Pacis - Background = &"ruins of pala | 18thCenturyPortraits | |
| <img src="pastet5wsyw.jpg" /> | 1770 | Death of General Wolfe | Benjamin West (1738 -1820) | * Anticipates French 19th cent Romanticism - Portrait studies ^ to enhance illusion/actuality - Contemporary military attire; King ~ like; Reynolds concern - Grand scale - American subject; in Quebec - Martyrdom of Xst; acceptable | 18thCenturyPortraits | |
| <img src="pastee2tyjo.jpg" /> | 1771 | Peace Tready with the Indians | Benjamin West (1738 -1820) | - English interest in Indians | 18thCenturyPortraits | |
| <img src="pasteoxc9y5.jpg" /> | 1770 c | Colonel William Johnson | Benjamin West (1738 -1820) | - Proto Romantic | 18thCenturyPortraits | |
| <img src="pastevsds1p.jpg" /> | 1777 | Saul and the Witch of Endor | Benjamin West (1738 -1820) | * Chief stylistic influence here is Salvator Rossa (Ita) - Least Neoc works | 18thCenturyPortraits | |
| <img src="pastesg56wa.jpg" /> | 1817 | Death on a Pale Horse | Benjamin West (1738 -1820) | - Romantic - Finds fruition in Jericho and Delacroix | 18thCenturyPortraits | |
| <img src="pastemqeqfc.jpg" /> | Staircase from the Joseph Manigault House, Charleston, SC 1803 - Adamesque houses = utility of free planning | FederalStyleAdamesque Images | ||||
| <img src="pastepklbwq.jpg" /> | 1782 | Peirce -Nicholas House | Samuel McIntire (1757 -1811) | * Earliest effort in Adamesque style | FederalStyleAdamesque | |
| <img src="gwp (1).jpg" /> | 1810 | Gardner -White -Pingree House | Samuel McIntire (1757 -1811) | - Adamesque, federal | FederalStyleAdamesque | |
| <img src="paste72lwbu.jpg" /> | 1795 -96 | First Harrison Gray Otis House | Charles Bulfinch (1763 -1844) | - Typical | FederalStyleAdamesque | |
| <img src="pastesjzyae.jpg" /><img src="pastelqmmp6.jpg" /> | 1795 -98 | Boston State House | Charles Bulfinch (1763 -1844) | ~ Good at monumentality * His most ambitious project | FederalStyleAdamesque | |
| <img src="pastek48w6i.jpg" /><img src="paste3q4bui.jpg" /> | 1816 -17 | Fifth Meeting House of the First Church of Christ | Charles Bulfinch (1763 -1844) | * Masterpiece | FederalStyleAdamesque | |
| <img src="pasteyxwgjg.jpg" /> | 1771 | Final Elevation for First Version of Monticello | Thomas Jefferson (1743 -1826) | - Originally based on Palladio's Villa Rotunda | FederalStyleAdamesque | |
| <img src="pasteknp2gi.jpg" /> | 1770 -1809 | Monticello | Thomas Jefferson (1743 -1826) | * His autobiography - Remodels... to current French/Roman sources * 1st expression of the Federal style | FederalStyleAdamesque | |
| <img src="pastentyekv.jpg" /><img src="pastebjrij1.jpg" /><img src="pastes1kf4k.jpg" /> | 1785 -89 | Capitol Building of Virginia | Thomas Jefferson (1743 -1826) and Charles -Louis Clerisseau | - Based after Mason Caree, ca. 16 BC * 1st public bldg in Am to be patterned directly after ancient temple - Symbol of arch respectability; set direction of development of arch in Am | FederalStyleAdamesque | |
| <img src="pastexs0v2w.jpg" /><img src="pastey3_dna.jpg" /><img src="pasteamptrn.jpg" /> | 1822 -26 | University of Virginia | Thomas Jefferson (1743 -1826) | * Greatest/+ successful of his arch efforts - State supported education (Roman arch) - Variety of classical sources * Rotunda = his professional achievement as an architect (Pantheon inspiration) | FederalStyleAdamesque | |
| <img src="pastejjgfxi.jpg" /> | 1792 | drawing for US Capitol | William Thornton | * One of 1st buildings to form true expression of Mon Class - 1792 competition for Capitol/President's House - Stephen Hallet/William Thorton = only classical designers in competition * Virtruvius Britannicus inspiration * Palladian and Georgian element | FederalStyleAdamesque | |
| <img src="pastewaxhxj.jpg" /> | 1812? | Tobacco and Corncob capitals | Benjamin Latrobe | FederalStyleAdamesque | ||
| <img src="pastewdo9gj.jpg" /><img src="paste_94zge.jpg" /> | 1798 -1800 | The Bank of Pennsylvania | Benjamin Latrobe | - Torn down for parking - Monum class - Based on Roman podium form (Massion Carie) * Ionic order - 1st precise use of a purely Greek order in US | FederalStyleAdamesque | |
| <img src="pastexqjezz.jpg" /><img src="pastebp2mtr.jpg" /> | 1806 -18 | Baltimore Cathedral | Benjamin Latrobe | - Upside down plans.. * 1st Catedral built in US - 2 designs; one Roman, other Gothic * Called &"N. America's + beautiful church&" and &"finest monument of Romantic Classicism&" | FederalStyleAdamesque | |
| <img src="paste6inb1h.jpg" /><img src="pastezmlzan.jpg" /><img src="pastezsykvq.jpg" /> | 1851 | Capitol Building (dome) | Thomas Walter | - Commissioned to enlarge building and design dome | FederalStyleAdamesque | |
| <img src="pastefxddm7.jpg" /><img src="paste5pnbab.jpg" /> | 1792 | White House | James Hoban | - Designed by Hoban (Irishman) ~ Monum class - Georgian features | FederalStyleAdamesque | |
| <img src="pastekyvohz.jpg" /><img src="pastejzc5zv.jpg" /> | 1803 -4 | Custis -Lee Mansion | George Hadfield | GreekRevival | ||
| <img src="pasteapuiy1.jpg" /><img src="pastedkgsp1.jpg" /> | 1806 | St. Mary’s Chapel | Maximilien Godfroy | GreekRevival | ||
| <img src="pastepnxe2f.jpg" /><img src="pastez5ame8.jpg" /> | 1822 -27 | Country Records Bldg. | Robert Mills | - Mix of M.C. and G.R. * Mill's style in purest form | GreekRevival | |
| <img src="pastetbwgqf.jpg" /> | 1819 -22 | First Baptist Church | Robert Mills | * Mill's style in purest form - Emerges out of spirit of classicism and assembly of classical details | GreekRevival | |
| <img src="pastesnjb4u.jpg" /><img src="pasterdtvf3.jpg" /> | 1822 | State Lunatic Asylum | Robert Mills | - G.R. influence * Structure set the style for Federal architecture for over a century | GreekRevival | |
| <img src="pasteb8l7ue.jpg" /><img src="pastezuvrwc.jpg" /> | 1836 -42 | Treasury Building | Robert Mills | GreekRevival | ||
| <img src="pastebwid_h.jpg" /> | 1818 -24 | Second Bank of the United States | William Strickland | * 1st design in the G.R. style - Establishes the Greek portico as symbol of financial stability * 1 of the + distinguished structures in its day | GreekRevival | |
| <img src="pasteculzkk.jpg" /><img src="paste3ukzfa.jpg" /> | 1859 | Tennessee State Capital | William Strickland | - Greek Revival | GreekRevival | |
| <img src="pastev4mds0.jpg" /> | 1793 | San Carlos Borromeo Mission | - Spanish Franciscans - Admin center for Catholic missions * Finest of these mission churches - Provincal Baroque | SpanishColonial | ||
| <img src="pastez5gfbv.jpg" /> | 1824 -34 | Casa Amesti (aka the Larkin House), (Montery Style) | - Municipal and resid arch reflects pattern that characterizes mission church structures * &"Montery style&" - long veranda, 2nd story | SpanishColonial | ||
| <img src="pastesvlpil.jpg" /> | 1804 | The Death of Jane McCrea | John Vanderlyn | - illustration for epic poem - based on classical relief sculpture | 19thCenturyPainting | |
| <img src="paste19vm0o.jpg" /> | 1807 | Marius on the Ruins of Carthage | John Vanderlyn | - Head from Rmn bust - Brooding/emotional classicism (~ Agrippina) * Set standards for 19th cent class. * Neoc in subject, but no action! therefore emotional, focuses on individual man/feelings * Anticipates Romanticisim | 19thCenturyPainting | |
| <img src="paste5rhfm2.jpg" /> | 1820 c | Panorama of Versailles | John Vanderlyn | - opens own museum, brings panorama to US | 19thCenturyPainting | |
| <img src="pasteaj6nno.jpg" /> | 1809 -14 | Ariadne | John Vanderlyn | * 1st nude in American art ^ shock - Titian and Georgioni - Marius/Ariadne = + $ | 19thCenturyPainting | |
| Mont<img src="pasteijnll4.jpg" /> Warren<img src="pastejena8z.jpg" /> | 1786 | The Death of General Montgomery at Quebec + General Warren | John Trumbull | Death of General West = Montgomery; Death of Major Pearson = Warren - Romantic battle painting | 19thCenturyPainting | |
| <img src="paste39vvvd.jpg" /> | 1786 -88 c | The Death of General Mercer at the Battle of Princeton | John Trumbull | 19thCenturyPainting | ||
| <img src="paste2rxh3w.jpg" /> | 1786 | The Declaration of Independence | John Trumbull | 19thCenturyPainting | ||
| <img src="pasteytjq_4.jpg" /> | 1792 c | Washington Before the Battle of Trenton | John Trumbull | - + emotion than West/Copley; knew Brq vocab better | 19thCenturyPainting | |
| <img src="pasteridma3.jpg" /> | 1790 c | Washington at Verplanck’s Point | John Trumbull | - American's ~ want Am His in grand manner | 19thCenturyPainting | |
| <img src="paste13nfyj.jpg" /> | 1808 c | Niagara Falls Near Table Rock | John Trumbull | - Failed... within 30 years landscape would emerge though | 19thCenturyPainting | |
| <img src="pastenstyrx.jpg" /> | 1782 | The Skater (William Grant) | Gilbert Stuart | - Allegory for winter - Lost for 100 years * Masterpiece of his English career; no Am painter of period could match this | 19thCenturyPainting | |
| <img src="pasteubkd50.jpg" /> | 1795 | George Washington (aka the Vaughan Portrait) | Gilbert Stuart | - new teeth? | 19thCenturyPainting | |
| <img src="pastepaiqt1.jpg" /> | 1796 | George Washington (aka the Athenaeum Portrait) | Gilbert Stuart | ~ Finished - His most vivid portrait of Washington; $1 | 19thCenturyPainting | |
| <img src="pasteyws4x0.jpg" /> | 1796 | Martha Washington | Gilbert Stuart | 19thCenturyPainting | ||
| <img src="paste5xkk3h.jpg" /> | 1807 c | Mrs. Perez Morton | Gilbert Stuart | - Impressionistic | 19thCenturyPainting | |
| <img src="pasterzogbs.jpg" /> | 1820 | Joseph Coolidge | Gilbert Stuart | 19thCenturyPainting | ||
| <img src="pastejkbnoh.jpg" /> | 1793 | Mrs. Richard Yates | Gilbert Stuart | - Eliminated detail to show sitter in + charactertistic attitude; @ end of day what interested him was bone structure of head, glow in eyes, head, and fresness of color * Seen as successor to Mrs. Seymour Fort by Copley | 19thCenturyPainting | |
| <img src="pastedtbdka.jpg" /> | 1776 | Mrs. Benjamin Rush | Charles Wilson Peale | 19thCenturyPainting | ||
| <img src="paste4bndv1.jpg" /> | 1795 | The Staircase Group | Charles Wilson Peale | - Masterpiece - Realism to illusionism | 19thCenturyPainting | |
| <img src="pastetjwuma.jpg" /> | 1806 | Exhuming the Mastodon | Charles Wilson Peale | - New kind of informal history painting (in the making) - combines genre, landscape, portraits | 19thCenturyPainting | |
| <img src="pastesgejoy.jpg" /> | 1822 | The Artist in His Museum | Charles Wilson Peale | * Final work - Dual interests | 19thCenturyPainting | |
| <img src="pastevcb_5r.jpg" /> | 1820 | The Court of Death | Rembrandt Peale | * Most popular painting of the decade - Moral allegory - Exhibits for 50 years | 19thCenturyPainting | |
| <img src="paste3brqoo.jpg" /> | 1801 | Rubens Peale with a Geranium | Rembrandt Peale | * One of the most original images in Am art history - About perception AND art | 19thCenturyPainting | |
| <img src="e9a3cc9f7896b76114c189afda94c401.png" /> | 1822 | Raphaelle PealeAfter the Bath | Raphaelle Peale | 19thCenturyPainting | ||
| <img src="26da2a478edfa8d156244f527a903282.png" /> | 1818 c | Still Life with Orange Peel | Raphaelle Peale | 19thCenturyPainting | ||
| (Still Life, No. 2) | 1821 | Still Life, No. 2 | Raphaelle Peale | 19thCenturyPainting | ||
| <img src="pastezbjjn8.jpg" /> | 1820 -2 c | Still Life with Raisins and Apples | Raphaelle Peale | 19thCenturyPainting | ||
| <img src="pastecfmv_u.jpg" /> | 1804 | The Rising of a Thunderstorm | Washington Allston | * 1st great Am seascape * 1st nature drama by an Am - Man is @ nature's mercy | Romanticism | |
| <img src="pastehegwnz.jpg" /> | 1813 -14 | The Dead Man Restored to Life by Touching the Bones of the Prophet Elisha | Washington Allston | - In London = recog as Biblical history painter | Romanticism | |
| <img src="pasterkzosa.jpg" /> | 1805 | Diana and The Chase | Washington Allston | * Romantic dream of Class world ^ Comment on timless grandeur/beauty of nature | Romanticism Marked | |
| <img src="pasteli2bti.jpg" /> | 1818 c | Belshazzar’s Feast | Washington Allston | - Given advance; ~ finished | Romanticism | |
| <img src="paste25nosx.jpg" /> | 1819 | The Flight of Florimell | Washington Allston | - Lyrical - Based on Spencer's Fairy Queen | Romanticism Marked | |
| <img src="pasteqte3zp.jpg" /> | 1819 | Moonlit Landscape | Washington Allston | - Belief it should be poetic in light/dark and so deep in emotion, pic becomes point of meditation * Style set new standard of atmospheric richness in Am painting; 1820 -30 b/c concern of most advance minds in Euro/Amer | Romanticism | |
| <img src="pasteqfgskf.jpg" /> | 1822 | The Old House of Representatives | Samuel F.B. Morse | - Documentary realism | Romanticism | |
| <img src="pastet6le9n.jpg" /> | 1832 c | Gallery of the Louvre | Samuel F.B. Morse | Romanticism | ||
| <img src="pastevpaufn.jpg" /> | 1825 -27 | The Muse | Samuel F.B. Morse | - Romantic realist | Romanticism | |
| <img src="paste25uw6h.jpg" /> OR<img src="pastefwdvx1.jpg" /> | 1810 c | Winter Scene in Brooklyn | Francis Guy | - Urban neighborhood | LandscapePainting | |
| <img src="pasteu17owl.jpg" /> | 1800 c | Tontine Coffee House | Francis Guy | LandscapePainting | ||
| <img src="pastewsgcbo.jpg" /> | 1835 | In Nature’s Wonderland | Thomas Doughty | - Ages -> style b/cs looser; little figures | LandscapePainting | |
| <img src="pasteyvbsrh.jpg" />? | 1833 | Landscape with Stream and Mountains | Thomas Doughty | - Little poetic gems of landscape painting | LandscapePainting | |
| <img src="pasteujwqav.jpg" /><img src="pasteeswnj4.jpg" /> | 1827 | Last of the Mohicans | Thomas Cole | *1st major Am. painting to illustrate a scene from Am. novel in landscape considered typically American - Landscape w/ narrative | HudsonRiverSchool | |
| <img src="pastecdxhps.jpg" /> | 1843 | Roman Ruins | Thomas Cole | * He often favored more heroic subjects, like here; despite being leader - Mute testimonials of impernamence of human condition | HudsonRiverSchool | |
| <img src="paste8efvtz.jpg" /> | 1833 | Titan’s Goblet | Thomas Cole | - Forerunner to surrealism - Time and place | HudsonRiverSchool | |
| <img src="paste2imm29.jpg" /> <img src="pasteiiy4rr.jpg" /> <img src="pastehb0ury.jpg" /> <img src="pasteiqqhal.jpg" /> <img src="pasteuyqgap.jpg" /> | 1836 | The Course of Empire (Savage State, Pastoral State/Arcadian State, Consummation of Empire, Destruction of Empire, Desolation of Empire) | Thomas Cole | - Comissioned by Lumen Rhead - Debt to Euro Roma lit - virtues of nature competing w/ evils of civilization - Mountain = permanence of landscape - Lorraine/Turner for theme of lagoon - Achreologically correct * Activities depict the summit of human g | HudsonRiverSchool | |
| <img src="pasteiu11kb.jpg" /> | 1840 | The Voyage of Life | Thomas Cole | - Common to make series w/ moral theme - Sources = John Martin - Friedrich? * the most popular series in Am @ time; inspired flood of amateur imitators * Cole's most popular series of paintings; so popular repeats it in 1842 = 2 sets of series - Exampl | HudsonRiverSchool | |
| <img src="pastemaxxz0.jpg" /> | 1827 | The Expulsion from the Garden of eden | Thomas Cole | HudsonRiverSchool | ||
| <img src="paste7fvrur.jpg" /> | 1827 | The Clove, Catskills | Thomas Cole | - What his followers wanted: pure landscape - Foilage/land ~ passive * America's ruins ~ Formula * Brings together two warring attitudes in Am art: 1. the elevated 2. the ordinary | HudsonRiverSchool | |
| <img src="pastekz39xa.jpg" /> | 1838 c | Schroon Mountain, The Adirondacks | Thomas Cole | * For Cole and contemps, a great civilization may have flourished here and may again - Visible world = handiwork of god - Turning point | HudsonRiverSchool Marked | |
| <img src="pastec936ng.jpg" /> | 1836 | The Oxbow | Thomas Cole | - This painting typifies his other aims (ID of native stuff), if course of empire is the height of his allegorical/moral painting - Rebirth from nature * One of few works where he shows positive outcomes of progress; pleasant rural habitat | HudsonRiverSchool | |
| <img src="pastebsaacq.jpg" /> | 1837 | View on the Catskill, Early Autumn | Thomas Cole | * Entirely rural, not a wild landscape = rare * Also, classically designed landscape = formula | HudsonRiverSchool | |
| <img src="paste3pc0qv.jpg" /> | 1840 | The Architect’s Dream | Thomas Cole | - Romantic melodrama, fantasy - Protosurrealist; done for architect | HudsonRiverSchool | |
| <img src="pastepbwxct.jpg" /> | 1849 | Kindred Spirits* | A. B. Durand | - Contrived to be uncontrived - Commission from John Sturgess * No painting better reveals sentimental reverence for nature/mystical component than this * Testament to Romantic aspects of landscapes, Cullen Bryans poetry, and Cole's painting | HudsonRiverSchool Marked | |
| <img src="paste2loz69.jpg" /> | 1845 | The Beeches* | A. B. Durand | - Structures paintings on gradations of gray (values) | HudsonRiverSchool Marked | |
| <img src="paste_wpe4q.jpg" /> | 1860 | Twilight in the Wilderness* | Frederick Church | * + extraordinary landscape of Am every painted - Uncorrupted nature completes daily cycle; contrasts w/ Cole's subjectivity | HudsonRiverSchool Marked | |
| <img src="pastecmbufm.jpg" /> | 1857 | Niagara Falls | Frederick Church | HudsonRiverSchool | ||
| <img src="pasteqe9pdy.jpg" /> | 1857 | View of Cotopaxi | Frederick Church | HudsonRiverSchool | ||
| <img src="pasteab2gfe.jpg" /> | 1866 | Rainy Season in the Tropics | Frederick Church | - Grandeur, to grasp nature w/ thoroughness of scientist - Public loved it | HudsonRiverSchool Marked | |
| <img src="pastechd62h.jpg" /> | 1871 | The Parthenon | Frederick Church | - After S. Am, antiquity - Searches for answer of past like Cole, in ruins | HudsonRiverSchool | |
| <img src="paste_05e2y.jpg" /> | 1866 | Merced River | Albert Bierstadt | HudsonRiverSchool | ||
| <img src="pastezmm4dx.jpg" /> | 1863 | The Rocky Mountains | Albert Bierstadt | - Sketches done 8 years earlier - Gov survey - Romantic reality | HudsonRiverSchool | |
| <img src="pastex_2nz6.jpg" /> OR <img src="pasteuavkrg.jpg" /> | 1869 | Sunset on the Marshes | Martin Johnson Heade | Luminism | ||
| <img src="pastehn5bvd.jpg" /> OR <img src="pasteqlw7iw.jpg" /> | 1860 | Orchid and Humingbirds | Martin Johnson Heade | - Best example | Luminism | |
| <img src="pastevp7ije.jpg" /> | 1863 | Twilight, Rock Beach | Martin Johnson Heade | - Pinned to canvas | Luminism Marked | |
| <img src="pastep1q0sf.jpg" /> | 1850s c | New York Harbor | Fitz Hugh Lane | Luminism | ||
| <img src="pasteychptl.jpg" /> | 1850s | Boston Harbor | Fitz Hugh Lane | - Worthy of Turner | Luminism | |
| <img src="pastemveotl.jpg" /> | 1860 c | Owl’s Head, Maine | Fitz Hugh Lane | - Nature's transcendental meaning - Light of early dawn (Lorraine) | Luminism Marked | |
| <img src="pasteoriv5n.jpg" /> | 1850 | Ship Stuck in Ice Off Ten Pound Island | Fitz Hugh Lane | - Theme: poetry that can be found in both space and light, in a landscape, of mood (Allston) | Luminism Marked | |
| <img src="pasteguay7p.jpg" /> 2nd <img src="paste3orjah.jpg" /> | 1870s c | Beacon Rock, Newport Harbor | Frederick Kensett | Luminism | ||
| <img src="pastenmyw00.jpg" /> | 1855 | Lackawanna Valley | George Inness | - Early style | Luminism Marked | |
| <img src="pastesmv69t.jpg" /> | 1882 | June | George Inness | - Late style | Luminism Marked | |
| <img src="pasteq4bdbk.jpg" /> | 1892 | Home at Mountclair | George Inness | Luminism | ||
| <img src="pastemodbyh.jpg" /> | 1827 -38 | Common American Swan | John James Audubon | - From beginning = intended to be prints | AmericanNaturalists | |
| <img src="pasteeivn8q.jpg" /> | 1827 -38 | The Whooping Crane + | John James Audubon | AmericanNaturalists | ||
| <img src="pasteivt_s2.jpg" /> | 1841 | The Arctic Hares | John James Audubon | - Monumentality | AmericanNaturalists | |
| <img src="paste00ieu4.jpg" /> | 1840 | George Washington | Horatio Greenough | AmericanSculpture | ||
| <img src="pastebemx4a.jpg" /> | 1843 | The Greek Slave | Hiram Powers | * Brought him international fame - Greek classical ideal nude - Xn faith protects her - Brochure * Justification for nudity = Victorian period 1827 -1901 - Lesson of moral strength | AmericanSculpture | |
| <img src="pastegcziwr.jpg" /> | 1843 | Orpheus and Cerberus | Thomas Crawford | - Sensation - CF. to Apollo Belvedere - Classical pedigree - Shipped back to Am for exhibition | AmericanSculpture | |
| <img src="pastexlvyeo.jpg" /> | 1858 | Equestrian Monument to George Washington + | Thomas Crawford | * Marks the beginning of outdoor commemorative sculpture in America - Complex multi figured monument to Washington | AmericanSculpture | |
| <img src="paste9_hudm.jpg" /><img src="paste0mpuw4.jpg" /> | 1863 | Armed Freedom | Thomas Crawford | - Bronze - Top of cupola of dome of Capital | AmericanSculpture | |
| <img src="pastehcy8rh.jpg" /> | 1866 | The White Captive | Erastus Dow Palmer | ~ Ideal; any in debtedness to Ital Neoc ends there with the white marble * American realism | AmericanSculpture | |
| <img src="paste_qle3w.jpg" /> | 1869 | The Fugitive’s Story | John Rogers | AmericanSculpture | ||
| <img src="pasteyokeye.jpg" /> | 1859? | Slave Auction + | John Rogers | - Copyrighted the groups to mass produce for a mass audience - Plaster | AmericanSculpture | |
| <img src="pastedf9w1h.jpg" /> | 1875 | Checkers up at the Farm + | John Rogers | AmericanSculpture | ||
| <img src="paste8cnvig.jpg" /> | 1874 | The Emancipation Group | Thomas Ball | AmericanSculpture | ||
| <img src="pasterlxzso.jpg" /> | 1856 | Puck | Harriet Hosmer | - So popular comissions for replicas supported her | AmericanSculpture | |
| <img src="paste1lklat.jpg" /> | 1867 | Forever Free | Edmonia Lewis | .. Freedom is inherent in our existence | AmericanSculpture | |
| <img src="pastesaciid.jpg" /> | 1853 | Nydia | Randolph Rogers | - Based on “Last Days of Pompeii” by Lynton | AmericanSculpture | |
| <img src="pasteqqrre8.jpg" /> | 1867 after | Ruth | Randolph Rogers | AmericanSculpture | ||
| <img src="pastec_8kst.jpg" /> | 1858 | Leander | William Rinehart | AmericanSculpture | ||
| <img src="pastexe1uce.jpg" /> | 1869 | Hero | William Rinehart | AmericanSculpture | ||
| <img src="pastebcwnul.jpg" /> | 1861 | The Falling Gladiator | William Rimmer | * Not only a consummate display of anatom knowl, but also representation of a human being racked in pain | AmericanSculpture | |
| <img src="paste1xgybc.jpg" /> | 1861 c | The Dying Centeur | William Rimmer | AmericanSculpture | ||
| <img src="pastew1f7l7.jpg" /> | 1872 | Flight and Pursuit | William Rimmer | * One ofthe most haunting and surreal image in 19th - Depths of troubled spirit | AmericanSculpture | |
| <img src="pasteur8fzx.jpg" /> | 1830 | Despair + | William Rimmer | - Psycho torment * Possibly 1st nude done in Am | Marked AmericanSculpture | |
| <img src="pastet5kclj.jpg" /> | 1765 | &"The American School&" | Matthew Pratt | * 1 of 1st pupils of West - Read Johnathan Richardson and &"du Fresnoy&"? ^ 2 classically oriented scholars; 17th century classicism of Poussin | 18thCenturyPortraits | |
| <img src="pastexiqxvh.jpg" /> | 1769 | Departure of Regulus | Benjamin West (1738 -1820) | - Sampling of antiquity for modern interpretation, like David | 18thCenturyPortraits | |
| <img src="pasteexisfm.jpg" /> | 1767 | Mrs. Rebecca Boyleston | John Singleton Copley (1738 -1820) | * The people of this time, clients, lived by formal code of manners; their dress could be stately/beautiful * Some agree this is the consummate Copley portrait; zenith of American portraiture * Grand hymn for the ambitions that guided this society at its | 18thCenturyPortraits | |
| <img src="pastegy9qeb.jpg" /> | 1768 c | Self -Portrait | John Singleton Copley (1738 -1815) | * Never before had a NE portrait painter prospered so well from his profession | 18thCenturyPortraits | |
| <img src="pastecbpyrv.jpg" /> | 1769 (m.y.) c | Mrs. Copley | John Singleton Copley (1738 -1815) | 18thCenturyPortraits | ||
| <img src="paste4tc_fx.jpg" /> | 1755 c | The Gore Children | John Singleton Copley (1738 -1815) | * Imitates features - therefore comes to his own form of Georgian Rococo elegance | 18thCenturyPortraits | |
| <img src="pastesyj7ig.jpg" /> | 1755 | Joshua Winslow | John Singleton Copley (1738 -1815) | * His ability to represent physical reality is superimposed over their styles | 18thCenturyPortraits | |
| <img src="pasteel2lx4.jpg" /> | 1758 | Mary and Elizabeth Royall | John Singleton Copley (1738 -1815) | * Marks the turning of Cop's career from a groping novice to a mature master painter | 18thCenturyPortraits |
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