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americanarthistory.bsky.social
American Art History
@americanarthistory.bsky.social
16 followers 1 following 10 posts
American art, history, and literature.
Pfp: George P. A. Healy
Banner: Elihu Vedder
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americanarthistory.bsky.social
I Am On My Vacation, New York
Date: 1944, printed 1985
Artist: Irving Penn
American, 1917–2009
https://www.artic.edu/artworks/144784/i-am-on-my-vacation-new-york
November 20, 2024 at 11:59 PM
americanarthistory.bsky.social
The Magnolia Vase
Manufacturer Tiffany & Co.
1893
The Magnolia Vase Manufacturer Tiffany & Co. 1893 “On view at The Met Fifth Avenue in Gallery 706 The Magnolia Vase was the centerpiece of Tiffany & Co.’s display at the 1893 World’s Columbian Exposition in Chicago—a display Godey’s Magazine described as “the greatest exhibit in point of artistic beauty and intrinsic value, that any individual firm has ever shown.” The design of the vase was a self-conscious expression of national pride. Pueblo pottery inspired the form, while Toltec motifs embellish the handles. The vegetal ornament refers to various regions of the United States: pinecones and needles symbolize the North and East; magnolias, the South and West; and cacti, the Southwest. Representing the country as a whole is the ubiquitous goldenrod, fashioned from gold mined in the United States. The exceptional craftsmanship and innovative techniques manifested in the vase—particularly the naturalism of the enameled magnolias—were much discussed in the contemporary press. Indeed, the work was heralded by the editor of the New York Sun as “one of the most remarkable specimens of the silversmith . . . art that has ever been produced anywhere.”” — The Met Museum Title: The Magnolia Vase Manufacturer: Tiffany & Co. (1837–present) Date: 1893 Geography: Made in New York, New York, United States Culture: American Medium: Silver, enamel, gold, and opals Dimensions: Overall: 30 7/8 x 19 1/2 in. (78.4 x 49.5 cm); 838 oz. 11 dwt. (26081.6 g) Foot: Diam. 13 1/2 in. (34.3 cm) Credit Line: Gift of Mrs. Winthrop Atwill, 1899 Accession Number: 99.2 https://www.metmuseum.org/art/collection/search/4923
November 20, 2024 at 11:39 PM
americanarthistory.bsky.social
Unknown Artist
Miniature Portrait of General Anthony Wayne (1745-1796)
Creator unknown American American Date c. 1876 Classification Drawings and Watercolors Medium watercolor on ivory; metal frame partially covered with shagreen (fish skin) Dimensions Image 2 ½ × 1 15/16 in6.35 × 4.92 cm Frame 3 × 5 ⅛ × ¼ in7.62 × 13.02 × 0.64 cm Frame 3 × 2 ⅝ × ⅜ in7.62 × 6.67 × 0.95 cm Accession No. 27.10.92 Location Not on View Credit Gift of Herbert DuPuy Copyright Public Domain https://collection.carnegieart.org/objects/7d4ef162-f6b8-4590-aba2-7676100a797a
November 20, 2024 at 11:33 PM
americanarthistory.bsky.social
Artist: Robert S. Duncanson
American 1821–1872
Date 1852 Classification Paintings Medium oil on canvas Dimensions Work 16 × 22 ⅝ in40.64 × 57.47 cm Frame 24 × 30 ⅛ × 3 in60.96 × 76.52 × 7.62 cm Accession No. 2018.32 Location Scaife Gallery 17 Credit Heinz Family Fund Copyright Public Domain https://collection.carnegieart.org/objects/fee0b4a2-3f25-4e00-8d47-9944e8dc6d65
November 20, 2024 at 11:29 PM
americanarthistory.bsky.social
Schrank
Date: c. 1790
Artist: Artist unknown (American, 18th century)
Berks County, Pennsylvania
Schrank Date: c. 1790 Artist: Artist unknown (American, 18th century) Berks County, Pennsylvania Status: Currently Off View Department: Arts of the Americas Artist: Artist unknown Title: Schrank Place: Berks County (Object made in) Date: c. 1790 Medium: Painted tulipwood Inscriptions inscription: (17 John Weidner 90) centered over door stop. Dimensions: 204.5 × 176.5 × 56.9 cm (80 × 69 1/2 × 22 1/4 in.) Credit Line: Elizabeth R. Vaughan Fund https://www.artic.edu/artworks/56686/schrank
November 20, 2024 at 2:06 AM
americanarthistory.bsky.social
Vase
Tucker Factory
American, 1828–36
Vase Tucker Factory American, 1828–36 On view at The Met Fifth Avenue in Gallery 726 “This vase is among the most ambitious ceramics made in this nation’s early republic era. Referencing sumptuous metal-mounted French porcelains of the period, it features elaborate gilded and polychrome enamel decoration. Each side is embellished with a different view of Philadelphia, taken from print sources. On one side, is Sedgely Park, designed by distinguished architect Benjamin Henry Latrobe and the country seat of Philadelphia merchant James Fisher. It is considered to be the earliest Gothic Revival house in America. On the opposite side is the view from Springland, the country estate on the Delaware River of the artist and landscape architect William Birch. Birch was the primary proponent of the English picturesque landscape, of which he considered his own Springland, the epitome. Thus, the views celebrate quite consciously a particular moment in this nation’s history—and —America’s most noted architect, and most noted landscape architect.” Title: Vase Maker: Tucker Factory (1826–1838) Date: 1828–36 Geography: Made in Philadelphia, Pennsylvania, United States Culture: American Medium: Porcelain, brass Dimensions: H. 21 1/8 in. (53.7 cm) https://www.metmuseum.org/art/collection/search/21355
November 19, 2024 at 6:05 PM
americanarthistory.bsky.social
Shop Girls
Date: c. 1912
Artist: Elizabeth Sparhawk-Jones (American, 1885–1968)
“In 1912 the department store was a relatively new and important urban institution. Shop Girls depicts female employees as they cut cloth from fabric bolts and ready them for sale. Elizabeth Sparhawk-Jones rendered this modern subject in rapid, open brushwork, paying particular attention to effects of light and atmosphere. Her work of this period often represented women in the modern city: nursemaids at home, women strolling in the park, shoppers, and store clerks. Sparhawk-Jones studied at the Pennsylvania Academy of the Fine Arts, where she learned from artists William Merritt Chase and Cecilia Beaux. She developed an energetic painting style that drew from both Realism and Impressionism.” — The Art Institute of Chicago https://www.artic.edu/artworks/68517/shop-girls
November 19, 2024 at 9:43 AM
americanarthistory.bsky.social
Winged Figure
Date: 1889
Artist: Abbott Handerson Thayer (American, 1849–1921)
“This female angel is one of many that Abbott Handerson Thayer painted during his career. Originally a painter of animals, Thayer created portraits and then allegorical figures like this example after training in Paris. The artist wrote of his seraphic subjects, “I have put on wings probably more to symbolize an exalted atmosphere … where one need not explain the action of his figures.” Other late 19th-century artists such as Augustus Saint-Gaudens also represented angelic female figures to personify what they perceived as the virtues of women. In Winged Figure, Thayer mixed this idealism with a level of naturalism, particularizing the woman’s features and giving her form a sense of mass and gravity.” — The Art Institute of Chicago https://www.artic.edu/artworks/59798/winged-figure
November 19, 2024 at 9:33 AM
americanarthistory.bsky.social
Beach Scene
James Hamilton
American, born Ireland
ca. 1865
“Several American landscape artists, from Frederic E. Church to William Trost Richards to James Hamilton, garnered the honorific “American Turner,” after the visionary British master Joseph M.W. Turner, who died in 1852 just as the age of landscape painting in America was coming to fruition. Perhaps none better than the Philadelphian Hamilton earned the sobriquet for the expressionistic technical liberties he indulged after Turner’s example. Hamilton may have more conspicuously been a student of Turner’s contemporary John “Pandemonium” Martin. Martin’s streamlined stylization of terrestrial and celestial forms presages the same features in Hamilton’s work in both oil and watercolor, such as this otherworldly scene based probably on the Jersey shore at Atlantic City, which Hamilton began visiting in the 1860s.” — The Met Museum https://www.metmuseum.org/art/collection/search/10983
November 19, 2024 at 9:12 AM
americanarthistory.bsky.social
Brooch
Manufacturer Marcus and Co. American
ca. 1900
“On view at The Met Fifth Avenue in Gallery 706 This exquisite brooch is one of the few extant examples of plique-à-jour jewelry made by the New York firm of Marcus & Co., whose reputation at its prime rivaled that of Tiffany & Co. Herman Marcus (1828–99), a German–born and Dresden–trained jeweler, arrived in New York in 1850 and worked for a number of prestigious firms before establishing Marcus & Co. in 1892. Following his death, the company continued under the direction of his two sons, George Elder Marcus and William Marcus. The brooch is a superb example of Marcus & Co.’s work in plique-à-jour enameling, in which the "cells" of color have no backing, allowing light to shine through the transparent enamel, thereby creating the effect of stained glass.One of the only jewelry firms of its day to succeed at this challenging technique, Marcus & Co. followed the lead of such innovative French designers as René Lalique. The sensitive 3-dimensional sculpting of the sweet pea blossoms and leaves, as well as the naturalistic coloring of the enamels, reflects the Art Nouveau aesthetic that prevailed at the turn of the century. Indeed, close parallels can be drawn with the brilliant naturalistic work of Louis Comfort Tiffany, whose oeuvre is so well represented in the Met’s collection.” — The Met Museum https://www.metmuseum.org/art/collection/search/702563
November 19, 2024 at 9:00 AM