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Director'sNote

It surprisedme to realize hat the earliestpiecesof Americanart illustrated ere are

closer n time to ChristopherColumbus han to us.The independence elebratedn

ournation'sBicentennialwas the culminationof generationsof effort in a New

Worldasfraughtwithprivation,difficulty, nddangeraswith promise.Todayour

houses are so full of comfortableEarlyAmericana-luxurious wing chairsand

weighty ookingglasses-that it iseasyto forget hat, formanyyearsof ourhistory,

glassandwallpaperndtextilesweremore uxuries hancommonplaces;hat rooms

weresmallandceilings owto containthefireplace eatthroughbitterwinters;hat

Colonialclothes arescarcebecause abricswereusedand reuseduntiltheyfellapart.Americanshad to contendwith the necessitiesof the wilderness s well as the

bounties f eventualprosperity,nda realization f the fullrangeofAmericanhistorymakeseven moreimpressivehe artisticachievements hownin this picturebook

and in A Bicentennial reasury:AmericanMasterpiecesromtheMetropolitan,n

exhibition hatwillopeninJanuary.All these worksaredrawn rom he Metropoli-tan'scollection.Begun n 1910,whenAmericanartwas ookeddownuponasapalereflection fEuropean tylesrather han acompellingandinnovative raditionn its

own right, it has since become the finest collection of Americanartin existence,

spanningalmost hreecenturiesandrangingromperiodrooms hroughdecorative

artsandfurnitureopaintings,prints,photographs,nddrawings.Because f limited

space,onlyafractionof the collection could be shownatone time. Butin the next

fewyears his will be remedied,as the Museum mbarks n the construction f the

AmericanBicentennialWing, which will combinebeautifullypacious xhibition

areaswithstudy-storageooms,conservationtudios,educationhalls,and a gardencourt.For hisimmenseundertaking ehave receivedanoutpouring fsupportrom

corporations,rom oundations, rom the City of New York,andfrommanyindi-

viduals.One person,however,deserves pecialcredit forbringing his dream nto

reality:Mrs. Charles S. Payson-trustee, benefactor, riend, whose gift of five

million dollars ormsthe heart of the project'sunding,and whose recent death

deeply addened veryonewho hadsharedherwarmth ndspontaneousnthusiasm.

Mrs. Vincent Astor, another of the Museum'smost generousand imaginativetrustees,has madepossible his Bicentennialexhibitionandpicturebook, which,like theAmericanBicentennialWing,paytribute o the proudaccomplishmentsf

thisnationanditspeople.ThomasHovingDirector

The MetropolitanMuseum of Art Bulletin Winter 1975/1976

VolumeXXXIII,Number

Publisheduarterly.opyright 1976byTheMetropolitanMuseum fArt,FifthAvenueand82 Street,NewYork,N.Y. 10028.Secondclasspostage aidat New York,N.Y.Subscriptions11.50a year.Singlecopies 2.95. Sentfree o Museummembers. ourweeks' oticerequiredorchangeofaddress. ack ssuesavailablen microfilmromUniversityMicrofilms,13 N. FirstStreet,Ann Arbor,Michigan.VolumesI-XXXVIII1905-1942) vailable s a clothbound eprint etor as individual early olumes romArnoPress, 30MadisonAvenue,New York,N.Y. 10017, r from heMuseum,Box255,GracieStation,NewYork,N.Y. 10028.PhotographsytheMetropolitanMuseum'shotographtudio.Editor f the Bulletin:Katharine toddertGilbert;AssociateEditor: oanK. Holt. Art Director: tuartSilver.Design: rwin

Glusker,withEloiseVegaandLillyHollander.

165



Curators Note

On the cover: This proud American

eagle, probablymade sometime between

1800 and 1830, is said to have come from

thevicinityof Philadelphia.Wood,gilded,h. 62 in. EllaMorris ePeyster und,59.89

Frontispiece: Detail of Figure 58, The

HatchFamily by

EastmanJohnson.

Al-

frederickHatch, a prominentNew York

broker,hiswife, andnine of theirchildren

are shown here. Aside from being a re-

markablegroupportrait,the pictureis an

excellent document of the domestic in-

teriorof the well-to-do classof the 1870s.

Gift of FredericH. Hatch, 26.97

Among the firstobjectsto enter the AmericanWing were severalof the earlies

masterpiecesllustratedhere. The Ipswichchest (Figure1) cameincompanywith

the greatbanister-back rmchairFigure5) and therichlyveneeredslant-topdesk

(Figure 7). They were part of the collection of over seven hundred work

assembledbya heritage-consciousBostonian,EugeneBolles. Someof these were

lent to the MetropolitanMuseum or tsHudson-FultonCelebrationof 1909-an

exhibitionstaged

inpart

to test thequestion

of whether or not American

decorative arts deserveda place in an art museum. The resultantreviews and

public responsewere so favorable that the Bolles objects were purchasedand

presented o the AmericanWing in 1910by its firstgreatbenefactor,Mrs.Russel

Sage.From his auspiciousbeginninga sixty-five-yearprocessof learning,refining

and acquisitionby five successive curatorsand their colleagueshas led to the

formationof the mostcomprehensivecollection of Americandecorativeartsin

the nation. As a result of its foundation andduringthe progressof its develop-

ment, all other such Americancollections,bothpublicandprivate,wereinspiredto be, and the science of the studyof American decorativeartswas established.

Ahalf-century s

ccumulationofexperience

andknowledge

affords he refined

qualitativeand aestheticjudgments hat we have madeforyourpleasure oday

Individually,and then as a group,the AmericanWing staff has painstakinglselected fromoverten thousandpiecesour mosteloquentstatementsof changingtastesin Americancraftsmanship.Whether ornot these individualworksareal

to the contemporary iewer sadmiration, hey standapart n this collection and

amongthose elsewhereassuperlative xpressionsof theirtime and asa tributeto

their skillfulmakers.

BerryB. Tracy

Curator-in-ChargAmericanWing

The artisticaccomplishmentsof ourcountryfromthe seventeenth throughthe

early twentieth century are the subject of this exhibition, which honors the

Bicentennial. Impressiveas these objects are, they areonly the very tip of the

iceberg.Fromour collection of thousandsof examplesof Americanarchitecture

painting, furniture,photography,prints, sculpture,ceramics,glass, silver, and

textiles-the nation s, and the world s, most extensive assemblage of this

166



material-members of the various departments had to select approximately one

hundred objects. It has been an exhilarating and difficult, and more than

occasionally frustrating, task to choose from among the many available works.

We had to ask the hypothetical questions curators often ask of themselves: What

is the absolute best in the collection? If I could retrieve only a few things in a

disaster, what would they be?

Everycurator haspersonal preferences,

butthey,

like collectors, tend toagree

on

what lends a certain work that specialnessthat sets it apart.Among the attributes to

consider is rarity.Justhow many masterpiecescan an artist create? Are the materials

or the subjectsrare? In what numbers have the objects survived?Certainly, age is

another element. Greatageusuallyimpliesraritybut agemay also contribute historic

distance, scholarlyrecognition, and other physical and mental patination. Condi-

tion is another vital concern. Does the object retain its physical integrity?If it had a

reasonably happy existence, and maybe a little extra care, it should not be too

differentnow fromwhen it was new. But the greatestmust be judgedon their intrinsic

quality-and if quality is there, any amount of tears, scratches, scrapes, fading,

breaks,patches, and even additions can be surmounted or be of less concern.

Theobjects

in the BicentennialTreasury

arerare;they

are old; and,amazingly,

they are for the most part in superbcondition; they areof the highest quality. But in

the final analysis, they have been selected because they are beautifully designed,

drawn, painted, carved, polished, joined, or sewn. In them, we find a wonderful

varietyof creativitywherein the artist smind, eyes, and hands have workedmagically

together to create that specialnessthat makesa masterpiece. Here ispresented a part

of the culturalheritage of the United States of which we can be proud.

John K. Howat

Curatorof American Paintings and Sculpture

Co-ordinator for the exhibition

The works illustrated in A BicentennialTreasury:

AmericanMasterpiecesrom

the

Metropolitan have been discussed by the following: American Paintings and

Sculpture:Doreen Bolger, John Caldwell, John K. Howat, LewisI. Sharp (who also

served as joint co-ordinator of the exhibition), and Natalie Spassky; American

Wing: MarilynnJohnson Bordes, FrancesM. Gruber, MorrisonH. Heckscher, R.

CraigMiller, and BerryB. Tracy;Printsand Photographs:David Kiehl, the lateJohn

McKendry,and Weston J. Naef; Twentieth Century Art: Henry Geldzahler.

The Museumowns a thirteen-starAmeri

canflag,which, accordingo tradition,wa

made by Mrs. Alexander Hamilton

(ElizabethSchuyler)after tsauthorizatio

by Congress in 1777 and then used at

HamiltonHouse, in New YorkCity, and

laterat The Grange.It is appliqued n the

back of an English flag said to have been

sewn in the Colonies by Alida Schuylefor her father, Philip Pieterse Schuylerwho in 1667 was in command of For

Orange. Anonymous gift, in memoryof

WilliamWillisReese,56.65

167



BicentennialTreasury

mericanasterpieces

r o m

t h etropolitan



1 This profuselyarvedchest, madein

Ipswich, Massachusetts,about 1660-

1680,reflectscraftpracticesbrought othe ColoniesbyEnglish oiners.Itsrec-tilinear form is inherent in the tradi-tionaljoinedoakpanelandframecon-

struction; the ornament of simplegeometricshapesand stylizedplantsisbasedonJacobean ernacularesignsoflate medievaland Renaissancederiva-tion. Paired eaves,with a naturalistic,three-dimensional quality rare inAmerican furniture of the period,dominatethis boldlycarvedand care-

fullybalanced omposition;while varia-tions on diversplantformsandrounded

figuresprovidea richaccompaniment.

2 A uniquely New Yorkform, this

lavishlydecorated ix-lobedbowlatteststo theskillofthecity'searly ilversmithsand the luxurious asteof itsprosperousburghers.FollowingDutch custom, itwas most likely filled with brandied

raisinsandpassed o guestswho helpedthemselveswith silverspoons.MadebyCornelius Kierstede, probably about1700-1710,he bowlcombines hehori-zontalshape,caryatid andles,stampedbaseband, ndnaturalisticlowers f thelate 17th centurywith the strong,re-

petitivebaroquerhythmsand extrava-

gantornament f theWilliamandMarystyle, which flourishedduring he firsttwo decadesof the 18thcentury.



3 This remarkableMassachusettsold-

ingtable scomposedofelements oundon contemporarycupboards:splayedframe, shelf, heavy balusters, and

applied decoration, which began to

supplant arvingafterabout1670. De-

parting from the solidly rectilinearcharacterof 17th-centuryurniture, t

showssurprisingmovement n its form,withvigorousnterplay etweenangularframeandfoldingcircularop. Madeofoakandmaple,andvery ikelyoriginallypainted,the tablenow bearsa lateren-richmentofblackpatterning n redanda marbleizedop. Apparently he onlytableof its kind, it is one of the most

appealingexpressionsof the weightyexuberance f the 17th-centurytyle.

4 Marvelouslyotund,this silvertank-

ard,made about1705-1725by Simeon

Soumain,has unusually trongpropor-tions,even forNewYork,where ankards

traditionallyhad a broad stance. Thefullnessof the body, which is wider atthebase han it ishigh, isemphasizedythe low, overhanging lid and deep

baseband.Typicalof New Yorkduringthelate17thandearly18thcenturies rethe stampedeaf border nd meanderatthe base.A moreopulent,fullybaroquenote is soundedby the cast masksand

garlandscascadingdown the handle.The tankard's splendid decoration,robustform, and emphaticallycurvedhandlegivetheimpressionfgreatheart-iness andoverflowing bundance.



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5 Tall-back hairs,combiningscrocrest rails, curving Spanish feet, a

vase-shaped urnings,set the styleseatingin the firstquarterof the 1

century.The mostindigenouslyAmcan of thesehad banisterbacksand tive rushseats rather han the caneleatherbacksandseatsof

Englishm

els. The stiffness nherent nthestrabackof thisNew England hair scoteredby the wideseatandinviting,laxedslopeof the arms.In a precarbut perfect equilibrium,the forcswirls f the armsarepoisedon the dcate tops of the legs, which rise frscrolled eet throughsuccessivelym

elongatedvase shapes.This controinteractionbetween elements of c

trasting cale andmovementrepresthe WilliamandMary tyleat its be

6 RobertFeke's ortrait f TenchF

cis, a Philadelphiaawyer,s amongmostpowerful aintings f 18th-cenAmerica.Itssimple,boldforms, n stle gradations of brown, contr

dramaticallywith the face, which

strongly it from the right.This sowhat starkcomposition, less sophcated than contemporaryEnglishptraiture, is remarkable or its almmonochromatictreatment. Fekebor in the Colonies, but his styleshapedby English tinerantartists

mezzotints.From hese sources,heherited his decorativebaroquemanand aristocraticdealsof elegance, dnity, andformality.This portraits a

importantas one of the few signeddated picturesby Feke, whose lifbased argelyon conjectureandsur

ingworks;t placeshim in Philadelin 1746, while others show that

painted n New England.



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7 The use of large,flat boards n con-structionandhighly patternedveneersfordecorationwas ashionablyewwhenthis slant-topdeskwasmadein Massa-chusetts about 1700-1720.Exquisitelymatched,the shimmering urlveneers

are a fascinatingmaze of ripplescul-minating n two oval whorlson the top.The desk'srim inesandneat bandsand

moldingsmake a beautifullybalancedstatement n keepingwith the subduedradianceof the woods. In the kind of

delightfulantithesisfound in WilliamandMarypieces,the ratherdiminutive,straight-sidedesk standson big, bulb-ous feetpainted o look likeebony.

8 A jaunty,personabletancegivesthis

mapleNew England ablea stylishnessrare or its type. While the form,basi-

callya largestool, is like that of manyportableablesof the early1700s, t hasbeen enhanced by a scalloped skirt,found on case

furniture f the period,and Spanish feet, more common toWilliam andMarychairs.The feet arecarvedwithanunusuallytrong utward

sweep,which echoesthe smart playofthe beautifully roportionedegs. Longyearsof usefulnesshave mellowed the

top, and have also warped t slightly,adding a pleasing lilt to this table's

prancinggrace.



9 Gracefulcurvespredominaten the

QueenAnne style,which firstappeareinAmerican ilverabout1715.Made nNew Yorkby PeterVan Dyckbetween1715and1725,thisteapothasharmonous lines that flow around the pear

shapedbody and over the domed lidThe contoursare well rounded,almos

languid,settingoff the more vivacioucurves of the spout and sweepingwooden handle. Aside from a coat oarms n a baroque artouche,no ornament disrupts he reflectivesurfacesthe silver. The metal's brilliance i

exploited n the facetsof the octagonaspoutand thecut-cardworkon the lid.



10 A dazzling world of fantasy iscreated on this chest by japanning,a

techniquemeant to simulateOriental

lacquer hat was in high fashionabout1710-1750. The motifs were raised,gilded, and varnished,and here theystand out vividlydistinct in a relaxed,undulatingpattern, in which people,animals, versizelowers, ndtinypavil-ions happilycoexist. In keepingwiththe fancifuldecoration,and typicalofWilliam and Maryhigh chests, is thewhimsicalunderstructuref sharply a-

pered egsandwavy kirt ndstretchers.Made nMassachusettsbout1710-1725,the chest is one of the few japannedpiecesfromthisearlyperiod.



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11 This RhodeIslandchair s the most

important f allAmerican18th-centuryeasychairs.A fine exampleof the New

EnglandQueenAnne type,it retains ts

originalupholstery,and is unique in

being signed and dated by the up-holsterer,"Gardner,r.Newport1758."

Easychairswere designed orcomfort:

fully stuffed or padded, roomy, with

wingsprovidingheadrests rprotectionfrom draftsor the heat of open fires.

That theywereusually eserved orthesick or elderly s suggestedby theirap-pearance nly inportraitsfaged itters.The chair's cover is finely worked

bargelloneedlepoint n a diamondpat-tern of once bright, but now subtlymutedshades.Backswereoftencoveredwith inexpensive abric,butnot so thisone (detailatthe left).Birds, heep,anddeer inhabit a charming landscapeworked n colorfulcrewel.



12 Bythe mid-18thcentury he richestMassachusettsasefurniturewasboldlymodeledin serpentinecurves,in bulg-ing bombe forms, or in rhythmicallyprojectingblock fronts. The upper ec-tions of highboysorsecretary eskshadflat frontswith flutedpilasters nd were

topped by broken-archedpediments.This block-front esk romSalemhas all

the best features f the style.Itspropor-tions are perfect,and its execution inthe finest mahoganyis flawless.The

crisply arved callopshellson the skirtand top capture the full geometricbeautyof theirnatural orms.The care-

fullychosen grainof the desk top anddoors ormsts owngraceful urvingpat-ter. But what makes this piece standout from tspeers sthe deeply uminousdarkred-brown atina.Sixty-fiveyearsago, when antiquefurniturewas strip-

pedas a matter of

course,the desk's

former wnerthoughthighly enoughoftherich,old colorunder hescaleof dirtto have had the finish rubbeddownbyhand rather hanscraped.By thisgoodfortune,time'suniquecontribution othe beautyof the desk remains.

13 At the peakof itsprosperity, uringthe thirdquarterof the 18th century,Newport, Rhode Island,developeditsown distinctivestyle of cabinetwork.

The trademarkf thestylewas heblockfront with shell carving. While theblock front was borrowed rom Bostonfurniture, he carved shell was the in-vention of the Townsends and God-dards, the leading cabinetmakingfamilies n Newport.This chest, whichwas madein 1765andretains he labelof John Townsend, sums up classic

Newportdesign.Verticalblocking,al-

ternately rojecting ndreceding, oun-ters the horizontalpatternof the draw-ers. The concave middle block drawsattentionto the center,while the pro-jecting shells (detail above), whose

sinuously sculpted ribs fragment re-flected light, emphasize he top. Theskirt and even the feet continue the

baroquemovementof the front. The

straight, thick cornice uncompromisinglycaps he tightly ntegrated ompo-sition of the masterfulittlechest.



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14 JeremiahPlatt died insolvent inNew Havenin 1811,but, according othe inventory,his house fairlybulgedwithfurnishings,ncluding"3redwin-dowcurtains,4 redditto, redcord andtassels," and "One large framedpicture--$1.00."Thisportrait f Platt,paintedby JohnMarein New York n1767, may be the pictureso modestly

valued.Todaywe value it highlyas thefinest of Mare's surviving portraits.Large, arefullymodeled,andsomewhataustere n color and arrangement,hepictures a forceful epresentationf thewealthymerchantsurrounded y sym-bolsof his success,opulentredcurtainsandanicelycarvedChippendalehair.

15 This remarkableide chair unites

EnglishdesignwithColonialexecution.In its ample proportions, addleseat,andscalloped kirts t is British;n con-struction nd n richnaturalisticarvingit is Philadelphian. The chair, oranother rom the sameset, appearsnCharlesWillson Peale's 770portrait fPhiladelphiamerchant LambertCad-walader;while a matching table isshownin Peale's1772portrait f Lam-bert's brotherJohn. Both must havebeenpartof John's1770parlorumish-ings, renowned as the richest in pre-Revolutionary Philadelphia. WithBritishgoods boycotted,he may have

specified hat his furniture e made lo-cally n the London ashion-an expla-nation or heirEnglish haracter.

16 One of the greatdocuments f Col-onial painting,The American Schoolwas done by MatthewPrattin 1765,when he was in Londonstudyingwithhis countrymanBenjaminWest. Sub-duedin color,hardin finish,painstak-inglydrawn,and somewhatawkwardlycomposed,it is a rareattemptby anAmerican at the informalgrouppor-

trait,or"conversationiece,"astapleof18th-century nglishpainting.The pic-ture speakseloquentlyof the youthfuleagerness f Pratt probablytandingatleft)andhiscompanions stheyponderlessons propounded by West (seatedcasually n a Chippendalechair), who

taughtvirtuallyverymajorartistof thefledglingUnited Statesuntil his death

_ g oxwomm 1111 I_ ~~~~in 1820.



17 The cabinetmakers f pre-RevolutionaryPhiladelphia racticed sophisticatedversionof the EnglishChippen-dalestyle,the essenceof which wasthe

dynamicjuxtapositionof classical,ar-chitectural forms with romantic,naturalistic rnament.A perfectillus-trationof the style s thischeston chest,believed to be the joint work,in abou

1772, of Thomas Affleck, cabinet-maker, ndJamesReynolds, arver.Theflutedcolumns,dentilfret,andgracefubroken-scrollpediment preserve the

piece's tatelyarchitecturalharacter.ndramaticcontrast is the phoenix-likebird,which is all movementandasymmetryas it rises rom he pediment.

18 A rare orm n American ilver, hiscake basket, fashionedabout 1765 byMyerMyers fNew York,sgracedwithan

exquisitely iryelegance.Itsundulat

ingbody,afluidarrangementfserpentine curves,is piercedalternatelywith

arabesques nd quatrefoilsn a diapepattern.The design s beautifully ohe-

sive, with one areaof decorationmov-

ingintothe next: shellson therim con-tinue the gadrooning nto the piercedpanels, while wavy bands of repoussbeads xtendbeyond he panels ntothesolid silver bottom, which is mono-

grammed n a floweryscriptbefittingthisdelicaterocococreation.



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19 The German Protestantswho set-tled in close-knit communitiesaround

Philadelphian the early18thcenturybroughtwith them the folktraditions fthe Palatinate.They lovedpainted ur-niture and often decorated storagechests with bright peasantornament.Thischest,madeabout1780,illustratesthe richstylefavored n BerksCounty.Red and white tulips proliferate n adarkground,while unicors anddoves,historically ymbolsof purity, inhabitarchedwhitepanels.Manysuch motifsweremereornament,butherethey mayhave been used as symbols o enrichadowerchest, traditionallygiven to abrideby her father.



20 One of the finestAmericanprimi-tive paintings is Lady with Her Pets,done in 1790 by RufusHathaway,anitinerant Massachusetts artist. Itexhibitsthe curiousdichotomycharac-teristicof worksof the self-taught:a

naive, all-inclusive narrativeelementcombinedwithan almostabstract seofline, color, and patternin a sophisti-cated composition. Elegantlydressed,the lady sits on a Chippendale-stylechair, surrounded y birds, butterflies,and a cat, possibly named "Canter."The reduction f draperyolds o linear,rhythmical esignsandthe inclusionofthe inscriptioneaffirmhe two-dimen-

sional, decorative quality of the work.

21 City styles had their echoes inAmerica's interlands, nd someof the

resultswerewonderfully riginal.Thischair, probablymade by MajorJohnDunlap in New Hampshirebetween1770and 1790, is an imaginative,dis-

ciplined nterpretationf the Chippen-dale style. Dunlap's haracteristic ec-orative features-fan, cutout S, and

scallopedseat rail-are confined in a

severelyrectilinearpatternof straightsupports ndstretchers.So, too, is thefancifulmedleyof flowerson the origi-nal crewelwork eat. The tension be-tween curvedand straight ines finallyexplodesntothecheerfully xaggeratedears and bold arched crestrail of thisruralmasterpiece.



22 With an appraisinggaze, Mrs.John

Winthrop confronts the 20th-centuryviewer in this arrestingportraitpaintedby John S. Copley in 1773. The wife ofone of America's first

prominentas-

tronomers, Mrs. Winthrop shared "the

delights of intellectual companionship"with her husband, a Harvardprofessor.The compelling realism of the image isenhanced by the facilitywith which tac-tile qualities are explored: the intricatetexture of lace; the high polish of the

reflecting table top (detail below); thedull sheen of silk;and the smoothnessofthe succulent fruits. Great technicalskill and a rareabilityto portraycharac-ter distinguishthe work of our foremost

native-born Colonial portraitist.

23 During the 18th century servingteabecame an importantpartof polite hos-

pitality. In Philadelphia the most popu-lartype of tea table had a circular,tilting

top.The

topof this

supreme example,one magnificent piece of mahoganywith a scalloped edge, spins freelywhenused or tilts up forstorage.This vast areafor kettles and cups is supported by a

single shaft-the upper part a fluted

column; the lower, a ball, compressedasif by the weight above. In contrast tothis architecturaltreatment, the legs are

animal-like, with muscular knees and

sinewy ankles and claws. Such bold in-

tegration of architectural and naturalmotifs is a hallmarkof the Philadelphia

Chippendale styleof the 1760sand 70s.



--Nppl-



24 Thisportrait f ayoung eaman, he

twelve-year-oldAugustusBrine, was

paintedbyJohnS. Copley nEnglandn

1782, when the boy enlisted in the

Royal Navy as a midshipmanon the

Belliqueux, ommandedby his father,AdmiralJamesBrine. The Museum's

only exampleof Copley'sEnglishpic-tures, it contrastsmarkedlywith his

more candid American works (Figure22). Here theatricaleffectsprevail: nthe dramaticightingof this self-assured

figureand in the romantically bscure

backdrop f sky, rocks, boat, and an-chor. Copley abandoned he linearityand intricate exturesof his earlierpic-turesand, painting insteadin fluent,broadly rushed assages,reatedanac-

complished portrait in the Englishmanner.

25 The declineofportrait ommissions

preceding he Revolution sent GilbertStuart to London in 1775. Probablypaintedthere between 1780and 1785,this memorable ikenessof a fashion-

able, confidentyoungman, holdingabook and glancing out of a paintedframe, shows Stuart'smasteryof the

rich, facilestylefavoredby the English

school. The picture demonstratesStuart'sskillful use of an amorphousbackgroundo set off the well-definedface of the subjectand his talent for

creating vivid, luminous flesh tones,which areenhancedbythe softgreenofthe coat. The vigorousbrushwork,n-formalpose,andsophisticatedomposi-tion were other hallmarks f the stylethat madeStuartone of the leadingpor-traitpainters n England.



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26 Despiteits fragility, his goblet, or

pokal, gives an impression of

strength-an effectundoubtedlympor-tant to thispiece, presentedn 1788tostockholders rom Bremen, Germany,who invested in the Amelung

glassworkst New Bremen,Maryland.Typicalof Amelung glass s the superbengraving,the greenishcast, the in-vertedbaluster tem, and a domedfootwithplainrim. Instyle,the pokal ooksback to the baroqueand rococo ratherthan to the newlypopularneoclassicaltaste. In craftsmanship, it shows a

maturity of which the Marylandglassblowersouldbejustlyproud,and sa fittingvesselfor a toastfrom he NewWorld o the Old.



27 Settees were unusual in Colonial

America, possiblybecausethey wereless

practical than full-sized sofas, which

were suitable for reclining. This one,with its mate the only known up-holstered Chippendale settees made in

Boston, employs Englishdecorative

motifs to enrich its graceful lines. Bos-ton makers favored English-style claw-and-ball feet with raked talons, and

asymmetrical C-scrolls and acanthusleaves carved on the knees, a motif

adapteddirectlyfrom a set of chairs im-

ported before the Revolution. The ;p

flared wings and bow-shaped back of x

this settee, however, areasuprememan-ifestation of the curvaceous New Eng-land rococo design of the 1770s.

28 Becausecostly mirrorglasswasoften

imported to the Colonies already en-cased in elaborate frames to enhance its

beauty and protect it from damage,18th-century American looking glassesare rare. This exquisite example, con-ceived as a pier glassto be placed above atable betwen two windows, was proba-bly made in New York about 1780, justas rectangular mirrors were beingsupplanted by more fashionable ovalones. Its design combines the complexcurvesand scrollsof the fully developedrococo style with a pure neoclassical

geometric form to produce a fleetingmoment of perfect visual harmony be-tween opposites.



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29 In Philadelphian 1795, two yearsafterreturningo America romabroad,GilbertStuartpaintedhisfirstportrait f

GeorgeWashingtonrom ife. The pic-ture, which was a great success andfirmlyestablished tuart's eputation thome, has become one of the best-known images in American art.Thirty-nine eplicaswerecommissionedbut few of them have the vitalityandimmediate uality fthisversion,which

suggestshat it musthavebeenpaintedat leastin partfromlife. The rich, vi-brantflesh tones, set off by the greendrapery, and the freely expressivebrushworkontrasteffectivelywith the

simplecompositionandausteredignityof the subject.

30 (above) On April30, 1789,GeorgeWashingtonookthe oathas firstpresi-dent on the balconyof CityHall, New

York. No full-scale media coverageflashed across the country; instead,monthspassedbefore his"eye-witness"printappearedn 1790.Becausemostofour knowledgeof the early Republiccomes rom iterary ocuments nd romlatervisualimages raughtwith artisticlicense, Amos Doolittle'scandidinau-

gural ecordsextraordinary.hisprint,and the Connecticut engraver's ourviews of the battlesof LexingtonandConcordof 1775, have a rarity odaythat obscures heir originalintent, to

givemodest,factualaccountsof eventsof the new nation.

31(below) The unusual romanticisfound n the cityviewsbythe Philadephia artistWilliam Birch rank them

among the masterpiecesof Americagraphicarts. In this rare view of NewYork,engravedabout1803, the imagnationis at firsttotallycapturedby thsurreal, heatricalqualityof the strik

ingly white horse grazingcalmly on

BrooklynHeights. The carefullydelineatedskylineof the then recentlyrebuiltmetropolisbecomesapparent nlafter this initial responsehas passedBirch'spainterlyuse of color,which iuncommon n Americanprintsof thiperiod,enhancesthe compositional f

fects and transcends the twodimensionalimitsof the print.



32 A superb xampleof the neoclassi-cal taste that sweptthe United Statesafter heRevolution, his ookingglass sone of a pair made in Massachusetts

about 1790-1810.Like contemporaryglassesmorecommonly mported rom

England,t bearsmotifs haracteristicfthe work of the Scottish architectRobertAdam:patera, ans, bellflowers,urns,and beribboned heavesofwheat,with theadditionofasymbol f the new

Republic, he eagle.Rarenotonlyin itsdomesticoriginbutalso n thevarietyofskillsemployedn itsmaking-carving,gilding,egglomise,ireandcompositionwork-this glass presents Federal

craftsmanshipt its best.



33 Dramatic contrasts in wood-

dark/light, burl/flame, inlaid/plain-give this earlyFederaldesk, of about1805, an extraordinary ichness. Ex-

traordinary,oo, isthat itbears he labelof Reuben Swift of New Bedford,Mas-sachusetts,who wasunknownuntil theMuseumacquiredthe desk in 1974.Areasnorth of New Bedford-Boston,Salem, and Portsmouth, New

Hampshire-have longbeen noted forthe finest veneeredand inlaid Federalfurniture, often featuring, as here,flame-grain birch panels, tambourslides, inlaid pilasters,and patternedstringing.Although related to North-shorework,thisdesk is an original, n-

tricate interpretation of prevailingstyles.Distinctiveelaborations re the

diaperedmarquetryn the top drawersandtheplayofpatterned eneersandof

geometric-shaped anels.Such master-ful manipulationof surfaceornament

provesSwiftacabinetmaker f imagina-tion andflair.



34 The juicy handling of pigment,casualarrangement,nd richpalette nthe remarkable alsamAppleandVeg-etables,paintedduring he 1820s,are a

departureromJamesPeale's sual ightdrawing, ormalcomposition,and re-strained oloring.Here he exploitsthe

variegatedextures ndcontours fveg-etables nd a rarebalsam pple, tswartyskinsplit open to revealthe medicinal

contents.AlthoughPealeemployedanaustere table-top support and aneutralbackgroundypicalof still-life

paintingntheearlyRepublic,his boun-teousselectionofobjects ooksahead othe optimisticmood and scientificin-terest associatedwith this subject atmid-century.

35 Carvedornamentadds distinctioto this shield-backedhair,baseduponplate2 in Hepplewhite's abinetmakeGuide (1788). Made in Salem, Massachusetts,about 1795, it is one of a

group associatedwith the merchanEliasHasketDerbyandthe architectohis Salem mansion,SamuelMclntirewhooccasionally arved urnituremad

by local cabinetmakers.Some of the

classical motifs on the looking glas(Figure 2) appear ere:wheat,ribbonand an um carvedwith leaves.Not socommon are the grapeclusterson thefrontlegs, splats,and base of the backwhich may carryout the vintagemotion someof the architecturallementso

Derby's ouse.



36 Ovals seem to dance across thewood and glass surfaces of this

secretary-bookcasemade in Salem,Massachusetts, about 1800-1810. Afavorite neoclassicalshape, they not

only unifythe cabinet base and book-casebutalso breakupaform hat could

appear,without suchdecoration, o beboxlikeandheavy.The boldshapingofthe rhythmicallyepeatingmullionsonthe bookcasedoorsseems to point up-

ward to the urn-capped pediment.Belowthe pedimentis one finaloval,echoing hemajordesign heme.Highlysuccessfuln its integrationof decora-tion andform,thissuperb ecretarys asornamental s it is utilitarian.



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37 A world of pastoral nnocence issuggestedby this appliquedcoverlet,probablymadebyor forPhebeWarer,who marriedHenry Cotheal of NewYorkn 1803.Brancheswithcalico andchintzflowersburst roman ur, a pat-ternderived rom he tree-of-life n In-diancottons. Exoticbirdsperchnearbyand deergambolamongdomesticani-mals.Below he um (detailbelow)aboyplayswithbow andarrow;wo girlsad-mire a bouquet;a shepherd ends hisflock;and a manpresentsa birdcage a

suitor'sgift?) to a fashionablydressedwoman. Filledwithlife andmovement,yetcuriouslyranquil,he coverlethas atimelessappeal.

38 (above) Ignoringhe conventionsofacademic painting, this primitive artist,

working n about 1825, created an in-

triguing design based on flattened

shapeswith undulating ontours.Scaleisdisregardeds enormous rees,almost

engulfing he sidesof the picture,dwarfhouses and sailingvessel. Distance is

suggestedby arranginghe variousele-mentsverticallyon the hillside. Build-

ings are seen in distortedperspective,simultaneouslyrom rontandside. Thewhole powerful,balancedcomposition

is rendered in unusual stitchlikebrushstrokes, hich add to the fascina-tion ofThe Plantation,a mostdelightfulexampleof American olkart.



39 Sauce bearnaise,sauce a l'orangeneverfaredbetter n early19th-centurAmerica han in this superb ilverclas-sical sauceboat,one of a pair in theFrench taste made about 1812 in

Philadelphia y the FrenchemigreAn-

thonyRasch.Animalformsdrawn rom

the archaeological eoclassicismof "lestyleantique"are used successfullyashandleandspout.The vigorousines ofthe serpent,with its intricately hiseledskin, harmonize with the handsomeboat shape and eager-lookingram'shead spout, which wears a collar of

flourishing anthemia. The whole is

givena deserved iftbywinged-lion eet

typicalof the period.



40 This couch, a powerful xampleofNew YorkCity'sRegencystylein 1810,wasmadebyDuncanPhyfe orthe mer-chant princeThomas Corell Pearsall.The curvilinear ines of the curule egsandgracefullycrolledarms,handled o

perfection by Phyfe, were based onGreco-Roman ormshe derivedfromthe 1808LondonChairmakers'ndCar-vers'Book fPrices.Curiously,oEnglishmaster xecuted hese forms o deftlyor

equaled the impeccable reeding and

carving n this choicemahoganyrame.

Therichest ouches,ashere,wereocca-sionally finished with cane panels,which were cool in summerand fittedwithcushions n winter.

41 Pure white marble, rich gleamingrosewoodveneers, judiciously placedverde-antiquedolphinsand gilt swansmakethis one of the bestcomposedandmost sumptuous f the ten pier tablesknownto havebeen made n theshopofHonore Lannuier n New York. The

originalormoluornamentsareperfectlybalanced in their placement in the

aproncenter and canted comers;andthe theme of gilt decoration s neatlyrepeatedby the rosettes n the paneledrecess of the platform.An American

interpretationof the French Empirestyle, this table, made about 1815,hasthe qualityand sophisticationof anyproducedn Paris t the time.



42 Thomas Cole began painting the

graciously varied landscape of thenortheastern nitedStates n 1825,and

duringhis subsequent areer,his workestablished imas a founder f the Hud-son RiverSchool. The romanticCole,who wasalsoawriter ndpoet,detectedthe hand of God in the physical and-

scapeandattempted o express hat es-sencein hispaintings. n 1835,the yearbeforehe completed hispictureof the

Oxbow(onthe ConnecticutRiver,nearNorthampton, Massachusetts),Colewrote: "My soul dwells in a mortal

tenement,andfeelsthe influenceof theelements. Still I wouldnot live where

tempestsnever come, for they bring

beauty in their train." Replete with

thunderheads, glistening blue skystorm-tossed oods,andrivermeander

ing gently hrougharmlands,hisrichlpaintedpicture s a powerful vocationofCole's pecialworld.Manyconsiderhis most individualwork. Cole advocateddrawing utofdoors,and,asLoui

LegrandNoblewrote n the artist's iography:"He almost daily walked, andsketched he landscape, natchingashe

walked tschoicestdetails."Here(detaopposite)Colehasincludeda pictureo

himself,sketchingon the spot,hisfold

ing chair, umbrella, and portfoliperchedon a rockyoutcropfar abovthe Oxbow.



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45 "Thedrawingof the figure s mas-terly:the colorharmoniousandflow-

ing: the attitude perfect ease; ... thebroad lowingfoldsof the drapery, nd

theykl;l~ Kench hnthe skillful disposition of the acces-sories,constitute this picturethe most

perfect full-length portrait hatwe re-member... froman American artist."ThuswarmlywasSamuelF. B. Morse's

portrait fhisdaughter usanpraisedn1837 by a critic. Today Susan seemsalmostinundatedby the paraphernaliaof polite romantic classicism-urn,acanthusmolding, thick draperyandcushions,glowingsky.This richlycon-ceived composition was Morse'slast

majorwork,ashe gave up artin favorofhis invention,the telegraph.

43, 44 There have been few kind re-marksabout the pillarand scroll ver-sionsoftheAmericanEmpiretylesinceits insurgencen the 1830s.And whentheheavyneoclassicalnterpretationsfthe FrenchRestauration ad run theircourseby 1850, ProfessorSilliman of

Yale,reviewing he historyof furniturein connection with the CrystalPalace

exhibitionof 1853,referredo them as"ponderous nd frigidmonstrosities fthe classical tyle."EvenDuncanPhyfeis reputedto have called it "butcherfurniture," ut, ironically,no one sur-

passedhim in the executionof thisnewfashion.For his reasonwe havechosen

piecesby Phyfe'sworkshop, wo of themost satisfying ormsof this awkwardera.The simple ines andplainsurfacesof thisrosewood illarcard able,one ofa pairmadeabout 1825, are typicalofthe style, but the perfectbalanceand

careful lacement f brassnlayandgild-ingmakeit exceptionallygraceful.

While most of Phyfe'sdesignsweredrawninefor ine from heFrenchash-ion periodicalMesangere'sMeubleset

Objets eGouit,he mahogany idechairhere, made about 1830, is not. In its

subtly mouldedback frame and har-momoslyace staran uporun a

moniously placed stay rali, supportinga

carefully rawnEgyptianotussplat, t isa distinctlyPhyfecreation.



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46 Cider Making, filled with light,color, and air, beautifullydrawn and

painted, radiatesa senseof heartinessandwell-being.One of the best works

by William Sidney Mount, who

specializedn easy-going,often humor-ousscenesof ruralLongIsland, t is ac-

tuallymore than just a jolly recollec-tion of life around country iderpress.Commissioned n 1840by a New York

Whig, it celebrates William HenryHarrison'sresidential ictory.Mount,opposing he "radical" oliciesof Mar-tin VanBuren,sympathizedwith Har-rison,who had reliedon a folksy"LogCabin and Hard Cider" campaign.Here Mount points up the joysof the

"vintage"f 1840.

47 GeorgeCalebBingham'sFurTraders Descending the Missouri is permeated by a strong luminosity thaobscureshe contoursof the distant er

rain, envelopingit in a misty atmos

phereof uniform,glowing one. At thesametime this lightclarifiesoregrounelements uchasthe deadbirdandcrispldrawn igures,who areunited to theienvironment fskyandwaterbymirrolike reflections (detail above). Al

though being sweptalong by the cur

rent, the travelersappearmotionlesfrozen n a classically alanced rianglPaintedabout 1845, this is an earlexample of American luminism, ameticulous ealism oncernedwithlighandatmosphere.



48 Albert Sands Southworth andJosiah Johnson Hawes pioneereddaguerreotypes in Boston in 1841,shortlyafter he Frenchprocesswasin-troduced. They attracted illustrious

sitters-among them Daniel Webster,ZacharyTaylor,William Longfellow,even Lola Montez-and the team be-camefamous orstoicallyclassicalim-

agesof the nation'spatricians.Occa-

sionally, heyexperimented oldly:not

only is this Boston beauty posedcoquettishly for a lady, but the

backgroundis painted russet, a wildromanticism rarely found in da-

guerreotypes.No othermediumcouldso elegantly represent he relief of thewrinkledextile, its subtle heen,or theintricatepatternof themantilla.



49 This bust of AndrewJacksonwasfelt by Hiram Powers o be one of hisfinest works.Followingartistic ashionof the day, PowersdrapedJacksoninclassical robes, but it is hardly anidealizedportrait.Unflinchingrealismdominates the work. At first, when

modeling t, Powershesitatedto show

the aging president'soothlessmouthand wrinkled face, but he was ad-monishedby Jackson:"Makeme as I

am, Mr.Powers,and be true to nature

always.... I have no desire to look

young... as I feel old." Powerscarvedthe bust nmarblenItaly n 1837,and tis one of the fewpiecesto be done en-

tirelybyhisown handratherhanbeingcut byskilledItalian tonecutters,henthe acceptedpractice.

50 Rippling curves and naturalisticformsmark his rococo revivaletagere,madebetween1850and1857,andbear-

ingthe labelof AlexanderRoux's hop,New York."Rococo"-the word ounds

repetitiveandrolling ike thequalitiest

designates-originatedin 18th-centuryFrance,and as interpretedn New Yorkin the 1850sbecamea style in its own

right. Then a new form, the etagereoften had a pier-tablebase toppedbyshelves n tiers e'tages).Herea waterfalleffect, a cascade of C-scrolls,foliage,and cymabracketsbackedby a mirror,evokes 18th-centurygrottoes, whosewater-worn rocks (rocaille is "rock-work")wereasource orthestyle's rreg-ularmotifs.



51 FredericChurch'spanoramicviewof theEcuadorian ndeswasa sensationfrom hetime it was irst xhibited ntheartist's tudio nNew Yorkn 1859. This

hugecanvas,about51/2by 10feet, is a

dazzling ompendiumof minutelyren-deredwildlife,vegetation,and terrain

(details left and opposite above). To

heighten the senseof reality,Heart ofthe Andes wasoriginally xhibited n adarkenedgallery,placed in a window-like frame hat was flankedby tropicalfoliageandilluminated ygas ets.Afterthe visitor had experiencedthe total

grandeurf thepainting,he wasgivena

viewingtube so that he couldexplore,

bitbybit, the unendingarray f details.



52 Harmonious,muted tones create a

delightfullysoft atmosphere hat per-vadesJohn F. Kensett'sLake George,painted in 1869. Kensett concernedhimselfwith the moresereneaspectsof

nature, he changinghuesof waterand

sky, light, the cracks and mosses onrocks. Here the peacefulmajestyof the

dramatic,mountain-boundake sinter-

ruptedonly by an Indian in a canoe.

Although Lake George was depictedfrom almost every aspect by 19th-

centuryartists, ew, if any, could rivalthe powerand expressiveness f Ken-sett's painting. The delicate finish,panoramicview, opalescent sky, andalmost urreal erception f shimmeringquietmake it a masterpiece.



53(uppereft) During he 1860s,Carle-ton E. Watkins revolutionized thecourseof Americanphotography.Thefirst American photographer o treat

landscapeas a serious ubject,he tookviewsof Yosemite nd northernCalifor-

nia that were as dramatic and well-receivedas thegreatandscape aintingsof Church and Bierstadt. Parallelintheir artisticvision, Watkins created

images of antediluvianwilderess, aGarden of Eden awaitingthe first in-habitants.This 1864view of Mt. Starr

King, in Califoria, pays homage toThomas StarrKing, the Boston trans-cendentalistauthor,who, deeplyinflu-enced byJohnRuskin,felt that naturein itselfcouldbe a workof art.



54 Bow in hand, restraining is dog,the youngwarrior tealthilytrackshis

prey. This vigorous realism, praisedwhen John Quincy Adams Ward firstexhibitedThe Indian Hunter n 1862,marked he end of neoclassicism ndthe

beginningof anera n which naturalismdominated American sculpture. Butclassicism continued to influenceWard's rt:herehisobjectiveportrayalscombined with a classical, triangularcomposition,giving the 16-inch-highgroup senseofmonumentality. largeversion of The Indian Hunter was

placed n New YorkCity'sCentralParkin 1868,the firstAmerican culptureobe so honored,andit is still one of themostpopular tatues n the park.

55 Bathedin soft morning ight, Al-bertBierstadt'seaceful ncampment fShoshoneIndians s an Edenic mageofthe unsettledAmericanWest. His vis-ion of soaring now-cappedmountainsand broad ertilevalleyswasinspired ythe westernphotographsf C. E. Wat-kins and EadweardMuybridge nd re-flects the prevailingbeliefin "Manifest

Destiny"-the assumptionhat divinewill parallelednationalinterest n the

country'swestwardxpansion.Bierstadtused sketches and photographsmade

duringa tripwest to paintThe RockyMountains.Firstexhibitedin 1864, itsoon vied with Church'sHeartof theAndes(Figure 1) asAmerica's reatestlandscape ainting.



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56 Max Schmitt in a Single Scull,painted n 1871, sanincrediblyuccess-ful synthesisof Thomas Eakins'smajorinterests,anatomyandperspective.His

incisivelydrawn iguresandsettingare

organizedn a carefully ontrolled om-

position, in which the glidingmotioncharacteristicf scullingseems arrested

by a patternof horizontaland verticallines createdby boats and oars,reflec-

tions,landscape, ndclouds.This sceneon the SchuylkillRiver n Philadelphia

is illuminatedby a strong light thatuniformlylarifies etail: rom he strik-

ing portrait n the foregroundo such

vignettesas the swimmingducks and

puffing teamboatn the distance.

57 InWinslowHomer'sPrisonersromthe Front, a bedraggledbut dignifiedfriezeof Confederateoldiersacestheircaptor,a well-outfittedUnion officer.The confrontation s dramatizedy theisolation of these figures romthe dis-mounted oldiersn the middledistanceandby the desolate etting,presumablythe sceneof a skirmish rbattle.Donein 1866, only four yearsafterHomerbegan to paint in oils, this pictureis

perhaps his most sensitive study of

America's ragicnational conflict. Itshighlynarrative uality, omberpalette,andconcern or inearederivedromhisworkasan illustratorndengraver ur-ing the CivilWar.

58 Using rich, warmcolors,Eastm

Johnson brilliantlyorchestratedptraitsof the Hatchfamilyand the oplent decorof theirlibrarynto a unif

composition.Johnsonwas the most a

complished ractitionerf the informdomestic"portraitnterior,"which drived from 18th-century conversa

pieces"andenjoyedgreatvoguein taffluentperiod ollowing he CivilWThe highly finished realism of th

painting s shapedby his draughtsm

likestyle,while the casualposes uggthe influenceof photography.Commsioned in 1871by AlfrederickHatchWall Streetbroker,t was considered

Johnson o be his masterpiece.



59 Sunlightbreakshrough hebillow-

ing cloudsof GeorgeInness'sAutumn

Oaks, lluminatinghe richred, brown,and gold foliageof the clusterof oaktrees n thecenter.These vibrant olorscombinewith free brushworkndfluid

compositiono produce pastoraland-scapeof poetic beauty.Autumn Oakswaspainted n about1875,after nness'ssecond trip to France,where he wasinfluencedby the Barbizon andscapepainters Corot, Rousseau, and

Daubigny. nness's ictures, ike theirs,do not mirror ature; llof theelementsof his canvases recarefullyelectedand

synthesizedo create a mood thatper-meates he whole.

60 MoonlightMarine s one of AlbertPinkhamRyder'smost effectiveroman-tic interpretationsf thesea,evoking tsvastness nd tspotential orboth fearfulturbulenceand profoundpeace. Heredetail s obscured ya softevening ight,

which unifies rather than articulates.Within the confinesof his foot-squarecanvas,Ryderpainted n broadmassesandfluid,sinuouscontours, o that thesilhouettesof cloud-shapes,boat, andsails create a vigorous,continuousde-

sign. Datingfromthe 1870s-1880s,he

picturehas an enamel-like urfaceandrichcoloringunusual orthisartist,who

frequently eworked is picturesover a

periodof years.

61 In Music and Good Luck,done in1888,WilliamMichaelHamettpushetrompe-l'oeil ainting o its limits,presentingobjects n a daring angeof spatial planes: he sheet musicandcallincardareshownwithedgesbent,notflat

the partlyopendoorsuggests epthbehind it; heavy items aresuspended n

strings rbalancedprecariouslynnailsHamett delights in the textures andsubdued olorsof the old violin and it

gleaming trings;n thesilver, vory,and

grenadilla iccolo;in the metalhingeshorseshoe,hasp,and lock. His technicalbrilliance ndpopular ubjectmattemadehimthe mostemulatedAmericastill-lifepainterof his generation.



62 John HenryTwachtman'sArques-La-Bataille,done in 1885, is a subtleorchestrationof color and design: its

cool palette of delicate grays,greens,and blues is thinly paintedto remove

anytraceof the artist's and;the com-

position s defined n broadhorizontals

punctuated nly byelegantcalligraphicreeds.A viewofarivernearDieppe, t isapoetic andscapehatrejects pecificityfor evocation. This picture marksTwachtman's bandonment f the im-

pastobrushworknddarkpalettehehadlearnednMunich.The most mportantproductof his sojourn n Paris, t allieshis workwith that of the American o-

nalistJamesAbbottMcNeillWhistler.



64Drawn in silk

threads, glitteringpaillettesandbeads,irisappearas theymightat dawn:mutedtonesof yellow,green,lavender,andgrayminglein the

waving ronds; equinsglisten ike dew.The shimmering quality and tactilerichnessof a fine textilemake this por-tiere (detail below) the epitomeof the

sumptuousness eached by high-styledecorativeartsof the 1880s.Anticipat-ing Art Nouveauin its curving orms,the portierewas createdabout1884byCandaceWheeler,America'sirstmajor

womandesigner,orAssociatedArtists,a group hat includedLouisTiffany.

63 MaryCassattplaces the imposingfigureof Mrs. RobertMooreRiddleinanambiguousetting,where oregroundand background-virtually the same

color-nearly merge. This departurefrom traditionalspatial relationshipsshows her debt to the French artists

Degas and Manet and her growingawarenessfJapanese rints n theearly1880s. The picture s enlivenedby the

blue and gold Canton tea set on thetable and the fluid brushwork f thedelicate lace near the sensitivelypor-trayed face. In Cassatt's well-constructeddesign,the sitteris framedin a seriesof rectangles,which increasein intensityas theydiminish n size.



65 Mary Cassatt concentrated onthemesshe knewbest, creating mages

of the kind of comfortableleganceen-joyedbywomen of hersocialrank.Fas-cinatedbyJapanesewoodblock rintsofsimilarsubjects, she translatedtheminto the familiartechniques of soft-

groundanddrypoint tching.The Let-

ter, of 1891, is one of an innovativeseriesthat caused the painterCamillePissarroo marvelthat the result was"admirable,as beautiful as Japanesework,and it's donewith printer'snk."Its richnessof color, flatteningoverall

pattern, unconventional perspective,and the remarkableouch of the starkenvelopeagainstwarm leshcontributeto the monumentalityf thisprint.

66 Deceptively simple in its straightlinesandsparse rnament,hiswardrobeisactuallya studied omposition.Madeabout1880,it bears he markof Herter

Bros.,New York.The form ollows he

preceptsof CharlesEastlake,who de-

plored he excesses fmid-centuryurni-

ture, but the decoration resembles

japonesquedesignsof the English ar-chitect E. W. Godwin. Chrysanthe-mums, which seem to be flutteringdown, delineatetop and base and givemovementto the staticrectangle.The

thoughtful relating of ornament to

structure, with emphasis on blank

space,showsthe new vision of reform

furniture,of which this is the finest

example n the Japaneseaste.



67 JamesWhistleroftenusedportraitsto investigateormalproblems f design

andcolor. Arrangement n FleshCol-our and Black: Portraitof TheodoreDuret, of about 1883, reflects his

preoccupationwith subtlecolor effects.Intoa paletteofwhite, gray,andblack,he introducedcoloronly in the flesh,pinkdomino, andstylizedbutterfly-hissignature.The dark, ull-length ig-ure on a neutralgroundhasprecedentsin Courbet'sworks;while the reductionof content to the most essential and

expressive orms,subtleasymmetricalplacementof figure,strongsilhouette,

and the monogramitself show Whis-tler'snterestnJapanese rt.



68 Catching the flashing brushstrokesof William Merritt Chase at his best,Reverie:A Portraitof a Woman (proba-

blyMrs.Chase) is a stunning example of

an uncommon graphic technique,

monotype. Interest in monotypes was

reawakenedin the late 19th century as

artistsexperimented with the carefullyinked and wiped plates in imitation of

Rembrandt. In the course of this ex-

perimentation, etched lines were re-

placed by ink brushedon the surfaceof

the plate, allowingonly a single, unique

impression.Among the earlyexponentsof monotype, Chase had a bravurastylethat was a natural for this medium; this

large, masterfullyinked print, of about

1890, is one of the finest.69 Augustus Saint-Gaudens'sreliefsareamong he mostsensitiveportraitsfthe 19thcentury.Virtually ketches nbronzeandmarble, heyareremarkablefor depth of feeling and freshnessofexecution. One of his most movingisthis spontaneouslymodeledbronzeofMariana anRensselaer.tssurface, eli-

catelybut richlyworked,givesit a vi-

brantquality.A critic,Mrs. VanRens-selaerwrote, in 1887,a complimentaryreviewof Saint-Gaudens'standingLin-coln. A closefriendship eveloped,anda year ater Saint-Gaudens reated his

portrait.The framewasdesignedbythearchitectStanfordWhite.

70 Many of Thomas Eakins's amilyand friendswere the subjectsof the

penetrating ortraitshatwerehis maininterest ormuch of hiscareer.Onewasof his wife, Susan Macdowell,shown

aboutayearafter heirmarriagen 1884;Eakins's og,Harry,ies ather feet.Not

flatteringor aggrandizingis wife, theartistportrayser slouched nachair, na strong ightthatemphasizeshewearylookabouthereyes.Her lefthand,ren-deredwith extremeprecision,iesin her

lap atop an Orientalbook. Eakinsde-

lights nthedazzlingce-blue atinofher

dress,a foil to the surroundingwarmearthcolors.



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71 The impressionistWilliamMerrittChasebringshis fascinationoropen-airlight ndoorsn thisstudy, f about1895,of his wife sewingin theirLongIslandhome. Sunlight throughthe window

caresses he foldsof herwhite dressandpinkblouseandenlivenswoodsurfaces.

Ignoringdetail, Chase revels in the

fluidityof his pigments, n textureandcontour. His composition,arrangedna disconcertingdiagonal,relegates he

figure and furniture to the middle-

ground, eaving heforegroundareex-

ceptfora whitescrap.A virtuoso rtist,Chase executedmany superboils butfewequalFor heLittleOneinintimacy,glowing ight, and freshcomposition.

72 In 1889 Theodore Robinson

painted this striking landscape in

Givemy, the Frenchvillagewherehehad earlier met the impressionistClaudeMonet. Like this Frenchartist

he studied un-drenched rchitecturena limitedrangeof pasteltones, buthisinsistenceon solidformsandrectilineacontours mark Bird's Eye View-

Givemy as his individual statementRobinsoncrowds he center of his pic-turewith housesseen fromhigh abovetheirrooftops.The visualnterest reate

by theseshapescontrastswith the bare

foregroundand the muted distancewhere ree-boundieldsrecede o ahighhorizonine andnarrowtrip fsky.



73 The most famousof John S. Sar-

gent's arlyportraits,MadameX (Mme.PierreGautreau)s a study n linearde-

sign. The undulatingcontoursof her

unnaturally colored flesh are em-

phasized by a stark backgroundand

plungingdecolletage;Mme. X'srather

sharpeatures rerenderedwithacrisplydrawnoutline that flowsthe lengthof

her arm to her hand, which resolutelygrasps ergown. Completed n 1884,itwas condemned orthe sitter's rovoca-tive attitudeand the artist's reoccupa-tion with formrather han his subject'sappearance; ut it has since been pro-claimedone of his finestportraits.

74 This table of rosewood, lavishlycarved and inlaid with gleamingmother-of-pearlndbrass,wasundoubt-

edlythe focalpointof the library eco-rated orWilliamH. Vanderbilt yHer-ter Brothersn the years1880-1882. nitscombinationof classicalvolutesand

palmetteswith such whimsical orna-ment as the globeencircledby starsof

the nationalbanner, tshows he kindofeclecticism ften oundn theBeauxArts

style,which fosteredhighlyindividual,free interpretationsf classicalmotifs.The table'scraftsmanships so superbthat expertsonce thoughtit could not

possiblyhave been made in America.



75 An exuberant ift to the handlesandapleasantwell o thebodygivethis

loving cup a characterthat is bothwhimsicalandsturdy.The designers f

Tiffany& Co., who made the cup in1892or1893,mayhave been influenced

by shapesof medievalVikingwoodenvessels, which were sometimesmounted,as this one is, in silver.The

ornate urface, owever, eaturing pat-ter inlaidwithsilver,mother-of-pearl,and turquoise, s typicalof late 19th-

centuryobjects made for membersofAmerica's ffluentsociety.On a small

scale,the cupechoesthe opulentmoodof the Vanderbiltibraryable(below).



:



76 The pageantryof flags and themovementof crowds ill this sweepingview of St. Mark'sSquareby Maurice

Prendergast,ne of the firstAmericans

to respond o the influencesof Frenchpost-impressionism.Working n trans-lucentwatercolor, is favoritemedium,he hasreduced epresentationaletail oa fluidpattern fflattened hapes, ocus-

ing on the strongverticalsof the flag-polesrecedingnto the distance.Begin-ning in 1897, Prendergastpent two

years broad, rimarilynVenice,wherehe developed his singularwatercolor

style,seenherein one of the mostam-bitiousworkscreatedduringhis stay.

77 The Steerage ombinesaboldcom-

position,basedon geometricmechani-cal shapes, with a touchinglyhuman

subject, immigrantsn the hold of atrans-Atlantichip.AlfredStieglitzhas

spokenof how, in 1907,he conceivedhispicture n termsof designandas an

expression of his own concern forhumanbeings:"Around trawhat, thefunnel eaning eft, the stairwayeaningright... roundshapesof iron machin-

ery,a mastcutting nto thesky. . Isawa

pictureof shapesand underlying hatthe feelingI had about life." It is saidthat Picasso aw this photograph boutthe time he paintedhis cubist master-

piece Les Demoisellesd'Avignonandfoundrelevance n it to his work.

78 Edward Steichen's charismatic

platinumprintsof the FlatironBuildingreflect he concordance f the artspre-vailingat the turnofthecentury.At thistimeSteichenwasasmuchapainteras a

photographer,and he created in hisphotographs raphicequivalentsof his

paintings.The Museum'sour versionsof this subject,takenin 1905,are eachin a different ue, achievedby applyinga mixture of watercolor and light-sensitive gum arabicto the finished

print. Steichen stretched he limitsof

photography-making exceedinglyfacile use of his materials-to createanartistic statement of exquisite beautyanddelicacy hatparalleledhe aesthe-tics of American onalistpainting.



79 Workingin his isolatedstudio atProut's eckon theruggedMainecoast,Winslow Homerpainted some of hismost dramatic marines. Northeaster,done in 1895, is one of his finest, and

displaysHomer's uperb ontrol of pic-torialelements:hispalette s limitedbut

effective;his composition,blockedoutin broad masses, is enlivened bydiagonal hythmsandupwardburstsof

spray ndfoam; he complexpatterns frocksand hevariegatedolorsof theseaarecomplementedby an unmodulated

sky.Homer's icture s a powerfultate-ment,renderedn the essentials f mas-siverock,poundingurf,and eaden ky.

80 George Bellows'scommitment to

paintonlywhat he saw s evident n Upthe Hudson, of 1908. A wide, openlandscape, illed with lightandair,it is

paintedbroadly etwith therightness f

touch that readsasclaritywhen viewedat a distance. Bellows standshalfwaybetweenhisteacher,RobertHenri,andanotherHenristudent,EdwardHopper,who carried implificationnd clarifica-tion of forms hrough ight still further

(Figure90). Verymuch home-grown,Bellows never visited Europe,unusualforan artistof hisday.Thevitalityofhis

picturesmakes him one of the most

popularAmericanpainters.

81 Within this simple,almostprosaicsubject,WinslowHomer howshis mas-

teryof watercolors.Translucentwasheshave been applied to sky and wall,wherefreshwhitepaper howsthrough

to vary he surface.Foliagenear hegateis painted in deep, saturatedcolors,creating ool shadows.This fluidappli-cation contrasts with sharper,drylybrushed ouches such as bladesof grassbetween the wall and sidewalkor thebranches ffrangipani ising na burst fintense warmthagainst he bluesky.A

Wall, Nassau,dating romHomer'sec-ondtrip here n 1898,captureshedaz-

zling ightof acloudlessCaribbean ay.



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82 Bacchante and Infant Faun epito-mizes the jubilance of the Beaux Arts

style that dominated American sculp-ture at the turn of the century. Her

spiralingbaroqueform, twinkling eyes,

joyous mouth, and richly textured sur-

faceshelp to create one of the most glee-fulimages n Americanart.The sculptor,FrederickMacMonnies, gave the statueto the architect Charles McKim, who

placed it in the librarydesigned by hisfirm in Boston's Copley Square. Afterthe Women's Christian TemperanceUnion protested against the figure's"drunken indecency," the gift was re-

jected. McKim then presentedBacchante to the Metropolitan, whoseTrusteesenthusiasticallyacceptedher.

83 Thrusting aside an American flag,Mourning Victory emergesdramaticallyfrom a block of white marble. Sculptedwith a bravuraunsurpassed n American

art, the figure combines graceful Art-Nouveau-like lines with movingly ex-

pressive content. While Victory holdshigh a triumphant laurel, her downcast

eyes and unsmiling mouth projectmelancholy. It was undoubtedly withthis ambivalent sense of pride andlamentation that James C. Melvincommissioned this memorial fromDaniel Chester French to honor histhree brothers killed during the CivilWar. This is a replica by French of thefinished monument erected in Con-

cord, Massachusetts, in 1909.



84 Paintedabout 1912byJohnS. Sar-

gent, this watercolor epictsthe artist'ssister,at the easel,and twocompanionsin the gardens f the Generalife,ormerresidenceof the sultansnearGranada,Spain.Sargent ividlydemonstrateshe

versatility f this medium n atechniqueranging romtransparentwashes,withlittle articulation of form, to well-worked, heavily saturated areas inwhich vigorous brushstrokescreate

deep, rich shadows. He achieves bril-liant highlightsby exposingthe white

paper,and enlivensfluidsurfaceswith

chalky alligraphicines.Sargentplacedhis figuresn an oblique,close-upview,which seemsto draw he spectatorntothe cool mysterioushadows.



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86 The windowmadeby FrankLloydWrightfor the Coonley playhouse nRiverside, llinois, s a remarkablenno-vation: a non-objective design con-ceived in 1911 before non-objectivepaintingwas generallyknown. Wrightcalled it "Kinder-symphony,"or it is

based on things children love-balloons, flags, confetti. The primarycolors and pattern bring to mind theworksof the Dutch painterMondrianandhis followers.Wright elt that win-dows were more than justgapingholesand ideal for ornamenting rooms.Handsome, decorative, the Coonleywindow(onlythe centralpanelis illus-trated)has survived ts removalto be-come a successful allerypiece as well.

87 The paintingsof MarsdenHartleycomeclose to Germanexpressionismn

feeling,with a heavy,broodingviewoflife often depicted, paradoxically, n

brightcolors. Portrait f a GermanOf-ficer waspaintedin Germany n 1914,when Hartley'sart was more finished

and controlled han any other time inhis career.A forcefulabstraction,t is a

startlingly advanced and integratedwork.Thecentralform,with tsdisparateelements, swells compellinglyon the

canvas, flagsand insigniaunderliningthe officer's uthority.The inclusionofnumbers and letters anticipates theworksof StuartDavisandJasper ohns.Broadbrushingaddspowerto the al-

ready trong magery.

85 Livingplantsseem transmutedntometal and glass in this lampof about1910by TiffanyStudios. Frombronze

lilypads,stems hrustupwardo supporta canopyof brilliant, ranslucent am-boo ladenwithlotuses.Centered n yel-low andgold, the blossomsareopales-cent at the edge-ivory tinged withblueand avender-and where he lightirradiateshem,flushedwithpink,rose,and vermilion. Between the bamboostalks are wateryhues of aquamarine,turquoise, and teal. The finest ofAmericanArtNouveau,LouisTiffany'sglass interpretations f plant life wonworld-widerecognition. Perhapshisflower hadesbestconveytheoriginalityof his vision.



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90 (insidebackcover) EdwardHoppecontinues he American radition f ob-

jective painting-the matter-of-factnessof Homer and Eakins-in thebroader terms of contemporaryartWhile the rangeof his subjectss widethey depict essentially the mood oAmericanlife, from a personalview

point, and light and its definition oscene and mood. Here in The Lighthouseat Two Lights, paintedin 1929mass is defined by walls of light andshadow.The building'ssolationon the

promontory reflects the curiouslyAmerican theme of detachment andloneliness, which runs throughall o

Hopper'sworks, strikinga responsivnote in all of us from the most avant

garde o the mosttraditional.

88 PaulStrand saw in the sensuouslycurvedautomobilea Janus-likeubjectthat looked forwardand backwardnartistic ime. AfterWorldWarI, whenartists rappled iththeproblem freal-

ityversus

abstraction,Strand ook twodirections: ne wasthe search or morerelevantobjective themes; the other,the studyof shapes, orms,andtexturesin a quest for abstraction.Here, in a1917platinumphotograph,headlight,spokes,brakedrum,and electriccable

suggest realities of the automobile'sfunction n modemlife;while the sinu-ous shadowsand reflections,creatingabstract atterns n the soft, brownish-

graymonochrome,are an expression fart forart's ake.

89 The ratherutilitarianDelmonico

Building, unlike the Flatiron(Figure78), was not a noteworthysubject or

photographers or printmakers. ForCharlesSheeler,however, tsgeometric

formprovided subject ompatiblewithhis obsession orclarity,withwhich hecouldimmortalizehe dynamism f theAmericanscene. Minimizing he win-dows and other necessities or habita-tion, and usinghis favoriteaccentsofextremesunlightand shadow o definethe essential shape, Sheeler furtherabstracted t into a statement of thevisual geometry inherent in a 20th-

centuryAmericancity. No attemptismade to relatethe DelmonicoBuildingto New York'saily ife.



The paintings, furniture,and other works illustratedon the following pages-many of which are partof the exhibitio

Armchair, Brewsterype.Massachusetts,bout1640-1660.Gift of Mrs.J. InsleyBlair,51.12.2

Court cupboard. Milford,Connecticut (?),about1690-1700.Gift of Mrs.J.WoodhullOver-

ton, in memory f Mrs.J. InsleyBlair,53.197.1

Card table. Newport, Rhode Island, about1760-1775.Friends f the AmericanWingFund,67.114.1

Armchair. Philadelphia,Pennsylvania,about1740-1760.RogersFund,25.115.36

Pewter tankard, byJohnWill.NewYork, bout1752-1774.Giftof Mrs.J. InsleyBlair,nmemoryof herhusband, . InsleyBlair,40.184.1

Edward and SarahRutter,byJoshua ohnston.About 1805. Gift of EdgarWilliam andBemice

ChryslerGarbisch,65.254.3

Painted pine archway from heVanRensselamanorhouse,Albany,NewYork. 765-1769.Gifof Mrs.WilliamVanRensselaer,nmemory fher

husband,WilliamBayard anRensselaer,8.143

Moses Viewing the Promised Land, byBen

jaminWest.1801.Gift of Mr.andMrs.JamesW

Fosburgh, y exchange,69.73

Daniel Crommelin Verplanck, by John S.

Copley.1771.Giftof BayardVerplanck,9.12

?i



been included to give some furtheridea of the great quality and scope of the Museum's collections of American arts

I

Secretary bookcase. Baltimore, Maryland,about 1810-1811.Gift of Mrs. RussellSage andvarious therdonors,69.203

General Jean-Victor Moreau, drawing,byCharles-Balthazar-JulienevretdeSaint-Memin.1811.Giftof WilliamH. Huntington,83.2.471

Sofa. New York,about 1820. Friendsof theAmericanWingFund,65.58

The Fallsof Niagara, by EdwardHicks.1825.Giftof EdgarWilliamand Berice ChryslerGar-

bisch,62.256.3

Kitty, engraving, by George White. About1821-1823. Gift of Mrs. E.C. Chadbourne,52.585.29

George Washington, byCharlesWillsonPeale.1779.Giftof CollisP.Huntington,97.33

Painted poplar chest. LebanonCounty,Penn

sylvania,1786.RogersFund,44.109.1

Plate. Pennsylvania,about 1790-1800.Gift o

Mrs.RobertW. de Forest,33.100.125

Silver teapot, by PaulRevere,Jr.Boston,Mas

sachusetts,about 1796. Bequestof A.T. Clear

water,33.120.543

Cast-iron Shaker stove. New Lebanon,New

York, bout1820-1840.RogersFund,67.181.1



r-*:tr4:t---r;-----

Embroidered wool carpet (detail),by ZeruahCaswell. Castleton, Vermont, 1835. Gift ofKatharine eyes, nmemory f her ather,HomerEatonKeyes,38.157

Raffling for the Goose, by William SidneyMount.1837.Gift ofJohnD. Crimmins, 7.36

Queen Victoria, by ThomasSully. 1838. Be-

questof FrancisT.S. Darley,14.126.1

Silver flute. Signed:A.G. Badger nd Co. Giftof Dr.W.P.Northrup,23.153

Euphemia White Van Rensselaer, byGeorgePeterAlexanderHealy. 1842. Bequestof Cor-neliaCruger,23.102

The Beeches, byAsher BrownDurand.1845.

Bequest f MariaDeWittJesup, rom he collec-tion of herhusband,MorrisK. Jesup,15.30.59

The Coming Storm, by Martin JohnsonHeade.1859. Giftof theErvingWolfFoundation

(two-thirds ndividednterest),1975.160

Piano, byNunns,New York.About 1850.Gifto

GeorgeLowther,06.1312

Tete-a-tete attributed o John Henry BelterAbout 1855. Gift of Mrs. Charles ReginalLeonard, n memoryof EdgarWelch LeonardRobertJarvisLeonard,and CharlesReginalLeonard, 7.130.7

The White Captive, marble,by ErastusDowPalmer.1859. Giftof HamiltonFish,94.9.3

s~~~~~~n



Banjo. Gift of H. McCord,89.4.2677

Compote by ChristianDorflinger.GreenpointGlassWorks,Brooklyn,New York,about 1861.Giftof Mrs.KathrynHait DorflingerManchee,1972.232.1

The Boulder and the Flume in Franconia

Notch, New Hampshire, by Ralph AlbertBlakelock.1878. Gift of Mr. andMrs.HughJ.Grant,1974.212

Portrait of the Artist, gouache,by MaryCas-satt. 1878. Bequest of Edith H. Proskauer,1975.319.1

Ralph Waldo Emerson, bronze, by DanielChester French.1879. Gift of Daniel Chester

French,07.101

Side chair. New York,about 1880. Purchase,The SylmarisCollection, Gift of GeorgeCoe

Graves,1975.277

Whistler, monotype, by CharlesA. Cornin1880. The ElishaWhittelseyFund, 60.611.134

Clock, by Tiffany& Co. 1882. Gift of MrsWilliamM. Kingsland, 6.1206

The Fitting, drypointandsoft-ground tchingby MaryCassatt. 1891. Gift of PaulJ. Sachs16.2.2

A Bachelor's Drawer, byJohnHaberle.18901894. Purchase,HenryR. LuceGift, 1970.19

4



Ernesta with Nurse, by Cecilia Beaux.1894.MariaDeWittJesupFund,65.49

The Red Bridge, byJulianAldenWeir. 1895.Giftof Mrs.JohnA. Rutherfurd, 4.141

Mandolin, by Angelo Mannello, New York.About1900. Giftof the Familyof AngeloMan-

nello, 1972.111.2

Ewer, plateau."Martele"ilverbyGorhamMfg.Co., Providence,RhodeIsland.About1901.Giftof HughJ. Grant,1974.214.26

Amor Caritas, gilded bronze, by AugustusSaint-Gaudens. 898(thisversioncastin 1918).RogersFund,19.124

The Wyndham Sisters, by John S. Sargent.1900. Purchase,CatharineLorillardWolfe Col-

lection,27.67

The Gulf Stream, by WinslowHomer. 1899.

Purchase,CatharineLorillardWolfeCollection,06.1234

The Thinker: Portrait f LouisN. Kenton,byThomas Eakins.1900. John StewartKennedFund,17.172

Rainy Night, CharingCrossShops,etching,byJosephPennell.1903.Harris risbaneDickFund17.3.505

Mr. and Mrs. Isaac Newton Phelps Stokes,byJohnS. Sargent.1897.Bequest f EdithMinturnPhelpsStokes,38.104



Across the Room, by Edmund C. Tarbell.About 1905. Bequestof Adelaide Milton deGroot,67.187.141

Table, designedby FrankLloydWright.About1912.Purchase,ncome rom he EmilyC. Chad-bourneBequest,1972.60.3

Coney Island, by JosephStella. About 1915.

GeorgeA. HearnFund,63.69

Athletic Contest, byMaxWeber.1915.GeorgeA. HeamFund,67.112

Dancer and Gazelles, bronze,by Paul Man-

ship.1916.FrancisLathropBequestFund,59.54

Copper lamp, probably y DirkVanErp.San

Francisco,California,about 1915-1925.RogersFund,1974.326

The Church at Gloucester, by Childe Has-sam.1918.ArthurH. Hear Fund,25.206

WomanWalking,chromewithblackonyxbase

by Gaston Lachaise.AlfredStieglitzCollection49.70.223

Portrait of Ralph Dusenberry, by ArthurG.Dove.1924.AlfredStieglitzCollection,49.70.36

I Saw the Figure 5 in Gold, byCharlesHenrDemuth. 1928. Alfred Stieglitz Collection,49.59.1

243



Credits for Figures 1.90

1Oak,1.49/8 in. GiftofMrs.RussellSage,10.125.685 2 Silver,diam. 10in. Inscribed QVforTheunisandVroutjeQuick.SamuelD. LeeFund,38.63 3

Oakandmaple,w. 361/4n. Giftof Mrs.J. InsleyBlair, 1.12.1 4 Silver,h. 7/8 in. Gift of MissAnnieClarkson, 7.85.1 5 Oakandmaple,h. 48 in. Giftof

Mrs.RussellSage,10.125.228 6 Oil on canvas,49 x 39 in. MariaDeWittJesupFund,34.153 7 Olivewoodandwalnutveneers;walnut,poplar,pine,and

oak;h. 40 in. Gift ofMrs.RussellSage,10.125.75 8 Mapleandoak,w. 31/2 in. Gift of Mrs.ScrevenLorillard,2.195.4 9 Silver,h. 7?4 n. Engraved ith

the arms f Myndert chuyler fAlbany.RogersFund,47.7 10 Mapleandpine,h. 62?2 n. Purchase,osephPulitzer equest,40.37.3 11Walnut,maple

andwool,h. 463/ in.Gift ofMrs.J. InsleyBlair, 0.228.3 12Mahogany ndpine,h. 101 n. Gift of Mrs.RussellSage,10.125.81 13Mahogany ndpoplarh. 34/2 in. RogersFund,27.57.1 14 Oil on canvas, 48/2 x 38V2 n. Victor Wilbour MemorialFund,55.55 15 Mahogany,h. 37 in. Purchas

Sansbury-MillsndRogersFunds;EmilyC. ChadbourneGift;VirginiaGroomes,Gift in memory f MaryW. Groomes;Mr. and Mrs. Marshall . Blankar

Gift;JohnBierwirth ndRobertG. GoeletGifts;Giftsof GeorgeCoe Graves,The SylmarisCollection,and Mrs.RussellSage,by exchange; nd Fundsrom

VariousDonors,1974.325 16 Oil on canvas,36 x 501/4n. Giftof SamuelP.Avery,97.29.3 17 Mahogany ndpine,h. 963/4n. Purchase, riendsf the

AmericanWingandRogersFunds;.Aron& Co., Inc.Gift;VirginiaGroomes,Giftinmemory fMaryW. Groomes;Mr.andMrs.FrederickM. Danzigernd

HermannMerkinGifts,1975.91 18 Silver,1. 141/2n. Inscribed SCfor Samueland SusanComell. MorrisK.JesupFund,54.167 19 Pine andpoplar,1.

521/2n. RogersFund,23.16 20 Oil on canvas,344 x 32 in. GiftofEdgarWilliamandBemiceChryslerGarbisch, 3.201.1 21 Cherry,h. 447/sn. Gift of

Mrs. . InsleyBlair, 3.149.1 22 Oil on canvas,352 x283/ in. MorrisK.JesupFund,31.109 23 Mahogany, . 313/ in. RogersFund,25.115.31 24Oilon

canvas,50x 40 in. Bequest fRichardDeWolfeBrixey, 3.86.4 25 Oilon canvas,282 x 23?2 n. Bequest fMaryStillmanHarkness, 0.145.37 26 Glass

h. with cover1 1/4n. Engraved ith the arms fBremen,Germany, nd nscription.RogersFund,28.52 27 Mahogany ndmaple,1. 582 in. TheSylmar

Collection,Gift ofGeorgeCoeGraves,30.120.59 28 Mahogany ndglass,h. 45 in. Sansbury-Millsund,52.86 29 Oil on canvas,30Y4 25?4 n. RogerFund,07.160 30 Engraving, fteradrawing yPeterLacour,162 x 123/ in. The EdwardW. C. Arold CollectionofNew YorkPrints,Maps,andPicture

54.90.743 31 EngravingySamuelSeymour, fterapaintingbyWilliamBirch,1811/16x 237/8n.The EdwardW. C. Arold CollectionofNew York rintsMaps,andPictures, 4.90.612 32 Pine,glass,andbrass,h. 50Y2 n. Sansbury-Millsund,56.46.1 33 Mahogany ndbirch,w. 46 in. Bequest fCecileL

Mayer subjecto two interveningifeestates),62.171.6 34 Oil on canvas,20/4 x 26/2 in. MariaDeWittJesupFund,39.52 35 Mahogany,maple,ash

pine,andebony,h. 377/8n. Friends f theAmericanWingFund,62.16 36 Mahogany ndsatinwood, . 96 in. Purchase,GiftofMrs.RussellSage,Bequest f

EthelYocum,Bequest fCharlotteE.Hoadley,RogersFund,byexchange,1971.9 37 Cotton, 104x 90 in. Gift of CatharineE.Cotheal,38.59 38 Oil on

wood, 19Y8 29Y2n. Gift ofEdgarWilliamand Berice ChryslerGarbisch, 3.201.3 39 Silver,1.11 3/16in. FletcherFund,59.152.1 40 Mahogany, .

843/4n. Giftof C. RuxtonLove,60.4.1 41 Mahogany, osewood, therwoods, marble,ormolu,andglass,h. 35 in. Friends f the AmericanWingFund

68.43 42 Oil on canvas,511/2 76 in. Giftof Mrs.RussellSage,08.228 43 Rosewood ndormolu,h. 31/2 in. Edgar . KaufmannCharitable oundatio

Fund,68.94.2 44 Mahogany, . 34 in. EdgarJ.Kaufmann haritable oundation und,68.202.1 45 Oil on canvas,733/ x 575/8n. Bequest fHerbertL.

Pratt,45.62.1 46 Oil on canvas,27 x 34?8in. Purchase,CharlesAllen MunnBequest,66.126 47 Oil on canvas,29 x 36Y2 n. MorrisK. JesupFund

33.61 48 Daguerreotypeithhand-tintedbackground,5/8 55/8 n. Giftof I. N. PhelpsStokesandOthers,37.14.4 49 Marble,h. 34Y2n. Giftof Mrs

FrancesV. Nash, 94.14 50 Mahogany,h. 84 in. Sansbury-Millsund, 1971.219,220 51 Oil on canvas,66Y8 119Y4n. Bequestof Mrs.DavidDows

09.95 52 Oil oncanvas,44/8 x 663/8n. Bequest f MariaDeWittJesup,15.30.61 53 Albumenphotograph, 05/8 157/8n. DavidHunterMcAlpinFund

1970.540.1 54 Bronze,h. 16 n. MorrisK.JesupFund,1973.257 55 Oil on canvas,73Y4 1203/4n. RogersFund,07.123 56 Oilon canvas,32/4 x 46Y

in. Purchase,AlfredN. PunnettFundand Giftof GeorgeD. Pratt,34.92 57 Oil on canvas,24 x 38 in. Gift of Mrs.FrankB. Porter, 2.207 58 Oil on

canvas,48 x 733/8n. Gift of FredericH. Hatch,26.97 59 Oil on canvas,218 x 30/4 in. Gift of GeorgeI. Seney,87.8.8 60 Oil on wood, 113/x 12in.

SamuelD. LeeFund,34.55 61 Oil on canvas,40 x 30 in. Purchase,CatharineLorillardWolfeCollection,63.85 62 Oil on canvas,60x 787/8n. MorrisK.

JesupFund,68.52 63 Oil on canvas,29 x 24 in. Giftof MaryCassatt,23.101 64 Silk, 1. 97 in. Gift of theFamily fMrs.CandaceWheeler throughMrs

BoudinotKeith),28.34.1 65 Drypoint, oft-groundtching,andaquatint,13/8 x8 15/16in.GiftofPaulJ.Sachs,16.2.9 66 Ebonized nd nlaidcherry, .

781/2n. Gift of Kenneth0. Smith,69.140 67 Oil oncanvas,76Y8 353/ in. Purchase,CatharineLorillardWolfeCollection,13.20 68 Monotype,19Y2

153/ n. Purchase, ouisV. Bell,WilliamE.Dodge,andFletcherFunds;Murray afskyGift;andFunds romVariousDonors,1974.544 69 Bronze, . 20Y4n.

Gift ofMrs.SchuylerVanRensselaer,7.104 70 Oil oncanvas,30 x 23 in. FletcherFund,23.139 71 Oil on canvas,40Y8 35 in. AmeliaB. Lazarusund

13.90 72 Oil on canvas,26 x 32Y4 n. Giftof GeorgeA. Heam, 10.64.9 73 Oil on canvas,82Y8 43Y4n. ArthurHoppockHeamFund,16.53 74

Rosewood nlaid with brassandmother-of-pearl,. 52 in. The RussellSageFund,1972.47 75 Woodinlaidwith mother-of-pearl,. 9 in. Gift of Jack

Steinberg,n memory f Mrs.ReginaPerlmutterteinberg,1973.170 76 Watercolor n paper,16Y8 15 in. Giftof the Estateof Mrs.EdwardRobinson

52.126.6 77 Chloridephotograph,

7/16x 35/8n. AlfredStieglitzCollection,

49.55.5 78Photograph, umprint

overplatinum;

187/s 15in. Alfred

StieglitzCollection,3.43.39 79 Oil oncanvas,343/sx504 in. GiftofGeorgeA.Hearn,10.64.5 80 Oiloncanvas,357/sx48Y8n. GiftofHughReisinge11.17 81 Watercolor npaper, 43/x 21?2 n. AmeliaB.Lazarusund,10.228.9 82 Bronze, . 83 in. Giftof CharlesFollenMcKim, 7.19 83 Marble, .

146 n. GiftofJamesC. Melvin,15.75 84 Pencilandwatercolornpaper,143/4 177/8n. Purchase,osephPulitzer equest,15.142.8 85 Bronze nd eade

glass,h. 145/8n. Giftof HughJ. Grant,1974.214.15 86 Leaded lass,approx.84 x 26 in. Purchase,EdwardC. Moore,Jr.,Gift andEdgar . Kaufman

Charitable oundation und,67.231.2 87 Oilon canvas,684 x 413/8n. AlfredStieglitzCollection,49.70.42 88 Platinum hotograph, 215/16x 105/16

in. AlfredStieglitzCollection,49.55.318 89 Lithograph,3/ x 63/ in. JohnB. Turner und,68.728 90 Oilon canvas,292 x 43Y4n. HugoKastor und

62.95

244



Figure 0, TheLighthouse t TwoLightsbyEdwardHopper.HugoKastorFund,62.95

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