american paintings and sculpture

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American Paintings and Sculpture Author(s): Doreen B. Burke and Oswaldo Rodriguez Roque Source: Notable Acquisitions (Metropolitan Museum of Art), No. 1984/1985 (1984 - 1985), pp. 38-39 Published by: The Metropolitan Museum of Art Stable URL: http://www.jstor.org/stable/1513554 . Accessed: 14/06/2014 11:30 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. . The Metropolitan Museum of Art is collaborating with JSTOR to digitize, preserve and extend access to Notable Acquisitions (Metropolitan Museum of Art). http://www.jstor.org This content downloaded from 194.29.185.251 on Sat, 14 Jun 2014 11:30:12 AM All use subject to JSTOR Terms and Conditions

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Page 1: American Paintings and Sculpture

American Paintings and SculptureAuthor(s): Doreen B. Burke and Oswaldo Rodriguez RoqueSource: Notable Acquisitions (Metropolitan Museum of Art), No. 1984/1985 (1984 - 1985), pp.38-39Published by: The Metropolitan Museum of ArtStable URL: http://www.jstor.org/stable/1513554 .

Accessed: 14/06/2014 11:30

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp

.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact [email protected].

.

The Metropolitan Museum of Art is collaborating with JSTOR to digitize, preserve and extend access toNotable Acquisitions (Metropolitan Museum of Art).

http://www.jstor.org

This content downloaded from 194.29.185.251 on Sat, 14 Jun 2014 11:30:12 AMAll use subject to JSTOR Terms and Conditions

Page 2: American Paintings and Sculpture

AMERICAN PAINTINGS AND

SCULPTURE

WILLIAM SIINEY MOUNT

American, 1807-1868

Great-Grandfather's Tale of the Revolution- A Portrait of Reverend Zachariah Greene 1852. Oil on canvas, oval, 24 x 20" (61 x 50.8 cm). Purchase, Morris K. Jesup and Maria De WittJesup Funds, Gifi of George I.

Seney and Bequest of Vera Ruthl Miller, by exchange, and Gift of Anita Pohndorff Yates, inl memory of her father, F. G. Poholdorff 1984.192

n 1852 the wealthy New York businessman Jacob Thuthill Vanderhoof commissioned William Sidney Mount of

Setauket, Long Island-now generally considered to be one of America's greatest genre painters-to produce a group portrait of his three children together with their maternal great- grandfather, the Reverend Zachariah Greene, then ninety-two years old. Vanderhoof's choice of Mount, who at that time was

already well known for his appealing scenes of everyday life in

Long Island, could not have been wiser. Of all New York

painters working at the time, Mount was the one ideally suited to turn a portrait commission of this type into a spirited

Entries by Doreen B. Burke, Associate Curator; Oswaldo Rodriguez Roque, Associate Curator, American Decorative Arts

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domestic scene full of animation and meaning. Mount knew his principal subject well. Something of a

legendary figure in Setauket, where he was pastor of the First Presbyterian Church from 1797 until his death in 1858, Greene ministered to three generations of Mount's family and had even married the artist's parents. Mount held Greene in great respect, and in a series of autobiographical notes of 1854 in which he discussed many of his works, he admiringly described the minister as follows:

Mr. Greene is now in the ninety-fourth year of his age-he has five fingers and a thumb on each hand, and six toes on each foot. The venerable man is remarkable in several respects. He was a soldier in the Revolution, an intimate friend of Geo. Washington, and one of the party who took down the equestrian statue of George III in Bowling Green (New York City). He was twice wounded at the battle of White Marsh, near Philadelphia, and at the battle of White Plains. He afterwards entered the miniistry, and became "a soldier of the cross," and has preached in Setauket-town of Brookhaven, Long Island-fifty-two years. His intellect is still active, and his memory unimpaired. (Quoted in Alfred Frankenstein, William Sidney Mount, New York, 1975, p. 32)

Greene believed firmly in America's liberty, in the greatness of the founding fathers, and in the grand destiny of the nation. Like Mount, he also believed that the Union must never be dissolved. By all accounts, he relished talking about his Revolutionary War experiences and always laced his tales with a healthy dose of old-fashioned patriotism.

As confirmed by the painting's title, used when the canvas was exhibited at the National Academy of Design in 1852, it is in the midst of one such lesson in patriotism that the painter represented the characters of his portrait. The minister points to a plaster reproduction of Jean-Antoine Houdon's famous portrait of Washington as the children, Mary Elizabeth, Henry Thompson, and Harriet Louise Vanderhoof, listen in rapt attention. Henry, realizing the momentousness of the occasion, takes notes for posterity. Through easily noticed clues, Mount hints at Greene's Unionist sympathies. A copy of the New York Times, the recently established pro-Union newspaper, is rolled up inside his hat on the stool to the right, while closer to the center the silver-handled wooden cane is prominently displayed. As his biographer dramatically records, Greene repeatedly and forcibly struck the floor with his cane whenever he admonished his listeners to "Take care of the Union! Take care of the Union!"

Although Greene lived in Setauket, the carefully depicted interior is almost certainly the parlor of the Vanderhoof residence at 55 Seventh Street in New York City. The detailed rendition of the tapestry velvet rug, of the fabrics used for upholstery and drapery, and of the various pieces of furniture indicates that this is a fairly accurate record of the up-to-date furnishings of the Vanderhoof parlor.

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Page 3: American Paintings and Sculpture

In addition to its other merits, the portrait is thus a valuable document of American taste in interior decoration in the pre-Civil War period. It descended within the family of Mary Elizabeth Vanderhoof until its acquisition by the Metropolitan.

ORR

JEROME THOMPSON

American, 1814-1886

The Song of the Waters Oil 0o canvas, 44 X 30" (111.8 x 91.4 cm). Signed and dated (lower right cornler): Jerome Thompson / 1878. Gift of Madeleine T. Edmonds. 1984.252.2

In his time Jerome Thompson was widely admired for hi works combining landscape and figure painting. He mac

specialty of such pictures, frequently executed on a large scale, and produced them all his life.

In 1860 or 1861 Thompson traveled from the East Coast to Minnesota, probably to visit his sister, who had become a missionary to the Ojibwa Indian tribe. Sometime after hi arrival he bought a farm in Crystal, Minnesota, not far fro Saint Paul. Although after 1871 he left the operation of the farm to his son, Thompson appears to have been a frequen visitor there until his death in 1886.

Proximity to the Ojibwa and to the sites described in the myths and legends probably led Thompson to Henry Wad worth Longfellow's Song of Hiawatha, first published in 18 as a potential source of subject matter for his paintings. Longfellow had himself exploited Ojibwa mythology in wri the highly popular poem, and Thompson must have felt th as a landscape-cum-genre painter familiar with the territor he was in a unique position to portray the many picturesqu scenes described in Hiawatha. His familiarity with the Indi; lore, however, also led Thompson to paint works that, like this one, are more related to the substratum of Longfellow poem than to the poem itself. Here, two Indian maidens, c standing and one reclining, have been placed on a rocky outcropping before the famous Minnehaha Falls.

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THOMAS W. DEWING

American, 1851-1938

Portrait of a Woman an e Silverpoint, 2112 x 187/X" (54.6 x 47.9 cm) (sight). Purchase, 7's Bequests of Eliza W Howland, Collis P. Huntington, Vera Ruth ne Miller, Lizzie P. Bliss, Egbert Guernsey Rankin, and George D.

Pratt, by exchange; Gifts of George I. Seney, Mrs. George LangdonJewett, A. W Bahr, Allison V. Armour, E. Everett

ORR Dickinson, Jr.,J. Pierpont Morgan, John G. Agar, and George A. Hearn, by exchange; and Vain and Harry Fish Foundation, Inc. 1984.345

I C ilverpoint, a medium popular during the Italian Renais- Jsance, enjoyed a revival in Europe around 1890 and in

America during the second decade of the twentieth century. Only two American artists, Thomas Dewing and a minor figure named Becker, are known to have used this medium before 1900. Of the fifty drawings in silverpoint that Dewing is believed to have executed, only a dozen are known today. He took up the medium around 1894, the same time he began working in pastel; it is not known when he ceased using silverpoint, although a group of his drawings in this medium were included in his one-man show at the Corcoran Gallery of Art, Washington, D.C., in 1924. Portrait of a Woman is distin- guished by its large scale and fine quality, but its style and subject are typical of Dewing's work in this difficult medium. Delicate diagonal lines, reinforced by cross-hatching, are used to represent the strongly shaded forms of the model's face. The sitter is shown in profile, accentuating her contemplative mood. The seemingly unfinished appearance of the image, placed asymmetrically in the upper right-hand corner of the paper, is calculated; the void created by the blank white

support focuses our attention on the artist's sensitive portrait. DBB

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