Download American paintings: A catalogue of the collection of the by ALBERT TEN EYCK; FELD, STUART P. GARDNER PDF

By ALBERT TEN EYCK; FELD, STUART P. GARDNER

This is often the 1st unique catalogue that has been released of the Museums American work. end result of the dimension of the gathering, simply oil work by way of artists born through 1875—about part the collection—are integrated. runs 3 volumes the current quantity comprises the paintings of painters born by way of 1815.

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Additional resources for American paintings: A catalogue of the collection of the Metropolitan Museum of Art. Volume I: Painters born by 1815

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Wehle, Met. Mus. , xrx (1924), pp. 27of. // T. Bolton and H. L. Binsse, The Antiquarian, xv ( 1930), pp. 76£. // J. W. Lane, Apollo, xxv (1937), p. 101 // B. N. Parker and A. B. Wheeler, john Singleton Copley (1938), pp. 38f. ExHIBITED: Cape Cod Association, Boston, 1851; Metropolitan Museum, 1936-1937• Paintings by John Singleton Copley, no. 18; Metropolitan Museum, 1939, Life in America, no. 20; Art Institute of Chicago, 1949, From Colony to Nation, no. ). Ex coLL. descendants of Mrs. Bourne.

Descendants of Mrs. Bourne. PuRCHASE, MoRRIS K. JEsUP Fund, 1924. 24·79 Joseph Sherburne Bowers (see above), it exhibits a remarkable advance over the rather dry, print-inspired technique that allies the Bowers portrait with Copley's earliest essays. Here, Copley has shown a remarkable understanding of paint and its expressive qualities. The portrait is one of Copley's most appealing studies of character. It catches the brightly alert dowager as she glances up momentarily from the book that has been the object of her concentrated attention.

The appearance of Joseph Blackburn in New England in 1754 had an immediate effect on his style, and within a few years Copley had surpassed Blackburn's repetitive rococo formulas, probably causing the visiting foreigner to seek his fortune elsewhere. Like virtually all the colonial portraitists, Copley was influenced by the stock compositions readily available in the form of British mezzotints, but gradually he developed a personal and penetrating style, in which he effectively captured the character of the mercantile aristocracy of pre-Revolutionary Boston.

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