#cmaamericanart
cma-american-painting-sculpture:
Portraits of Jean Terford David and Mary Sicard David, Thomas Sully , 1813,Cleveland Museum of Art: American Painting and Sculpture
According to his own inventory, the astonishingly productive Sully painted more than 2,600 works during his career. Most of these paintings were commissioned portraits, including this one of John Terford David, who had just recently married. French-born David was an American officer who served as a paymaster during the War of 1812. His rank is indicated by the fringed epaulet on his left shoulder and the lack of one on his right. In composing the portrait, Sully ingeniously positioned David’s body on an angle to emphasize the single epaulet and downplay the uniform’s lack of symmetry.
Leaving England for America at the age of nine but returning in his mid-twenties to study with Benjamin West, Sully finally settled in Philadelphia in 1810. There he became the city’s leading painter, known for dashing brushwork and elegant figures. Lieutenant Jean Terford David (1792–1838) commissioned these portraits of himself and his wife Mary Sicard David (1792–1864) soon after his appointment as regimental paymaster in the US Army. Sully created visual drama by portraying David from below against a cloud-filled sky. Mrs. David, however, is seen from straight on and presents a sweet and benign figure. The frame is original.
Size: Framed: 122 x 103 x 10 cm (48 1/16 x 40 9/16 x 3 15/16 in.); Unframed: 89.5 x 70.5 cm (35 ¼ x 27 ¾ in.); Part 2: 121.9 x 103.5 x 15.3 cm (48 x 40 ¾ x 6 in.); Part 3: 89.5 x 69.8 cm (35 ¼ x 27 ½ in.)
Medium: oil on canvas
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cma-american-painting-sculpture:
In the Housatonic Valley, Homer Dodge Martin , late 1850s,Cleveland Museum of Art: American Painting and Sculpture
Size: Unframed: 50.8 x 61 cm (20 x 24 in.)
Medium: oil on canvas
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Portraits of Jean Terford David and Mary Sicard David, Thomas Sully , 1813,Cleveland Museum of Art: American Painting and Sculpture
According to his own inventory, the astonishingly productive Sully painted more than 2,600 works during his career. Most of these paintings were commissioned portraits, including this one of John Terford David, who had just recently married. French-born David was an American officer who served as a paymaster during the War of 1812. His rank is indicated by the fringed epaulet on his left shoulder and the lack of one on his right. In composing the portrait, Sully ingeniously positioned David’s body on an angle to emphasize the single epaulet and downplay the uniform’s lack of symmetry.
Leaving England for America at the age of nine but returning in his mid-twenties to study with Benjamin West, Sully finally settled in Philadelphia in 1810. There he became the city’s leading painter, known for dashing brushwork and elegant figures. Lieutenant Jean Terford David (1792–1838) commissioned these portraits of himself and his wife Mary Sicard David (1792–1864) soon after his appointment as regimental paymaster in the US Army. Sully created visual drama by portraying David from below against a cloud-filled sky. Mrs. David, however, is seen from straight on and presents a sweet and benign figure. The frame is original.
Size: Framed: 122 x 103 x 10 cm (48 1/16 x 40 9/16 x 3 15/16 in.); Unframed: 89.5 x 70.5 cm (35 ¼ x 27 ¾ in.); Part 2: 121.9 x 103.5 x 15.3 cm (48 x 40 ¾ x 6 in.); Part 3: 89.5 x 69.8 cm (35 ¼ x 27 ½ in.)
Medium: oil on canvas
https://clevelandart.org/art/1916.1979
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Autumn Landscape and Pool, Alexander H. Wyant , 1870s-1880s,Cleveland Museum of Art: American Painting and Sculpture
Size: Unframed: 50.5 x 61 cm (19 7/8 x 24 in.)
Medium: oil on canvas
https://clevelandart.org/art/1927.390
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An October Day in the White Mountains, John Frederick Kensett , 1854,Cleveland Museum of Art: American Painting and Sculpture
Trained as an engraver, Kensett shifted to landscape paintings as a young man. In the summer of 1850, when he was 39, Kensett toured the White Mountains in New Hampshire and sketched this view of Mount Chocurua with the Saco River winding beneath it. Shortly afterward, he created this painting of the scene, which he exhibited at the National Academy of Design in 1855. Unlike earlier American landscapists, such as Thomas Cole, who reveled in stormy skies and rocky chasms, Kensett’s paintings, such as this one, tend to be peaceful in feeling. Kensett was particularly interested in the subtle changes of color and clarity that occur as objects recede into the distance, an effect known as “atmospheric perspective.”
Size: Framed: 107.6 x 152.1 x 12.7 cm (42 3/8 x 59 7/8 x 5 in.); Unframed: 79.8 x 123.5 cm (31 7/16 x 48 5/8 in.)
Medium: oil on canvas
https://clevelandart.org/art/1967.5
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The Violin Player, James McNeill Whistler , c. 1894,Cleveland Museum of Art: American Painting and Sculpture
Size: Unframed: 79 x 53.3 cm (31 1/8 x 21 in.)
Medium: oil on canvas
https://clevelandart.org/art/1942.1133
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Mary Campbell Stuart, Gilbert Stuart , c. 1815,Cleveland Museum of Art: American Painting and Sculpture
Born in Rhode Island, Gilbert Stuart studied painting in London under fellow American expatriate Benjamin West (also in this gallery). He achieved great success as a fashionable portrait painter of high society, most famously George and Martha Washington. Here, he portrayed Mary Stuart (born Campbell), the great-granddaughter of Colonel Peter Bard, a New Jersey Supreme Court judge. She married Dr. James Stuart, whose portrait was also painted by Stuart (unrelated to the sitters). Both are shown seated in an Empire chair upholstered in brown brocade. Stuart painted the portrait pair on panel because the British naval blockade during the War of 1812 hindered the import of canvas, the artist’s preference.
Size: Framed: 102.2 x 85.1 x 10.2 cm (40 ¼ x 33 ½ x 4 in.); Unframed: 83 x 65.7 cm (32 11/16 x 25 7/8 in.)
Medium: oil on wood
https://clevelandart.org/art/1927.394.2
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Samuel Barber Clark, James Frothingham , c. 1810,Cleveland Museum of Art: American Painting and Sculpture
Size: Unframed: 63.9 x 52.5 cm (25 3/16 x 20 11/16 in.)
Medium: oil on wood
https://clevelandart.org/art/1919.1017
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Martin Luther Hurlbut, John Neagle , 1840,Cleveland Museum of Art: American Painting and Sculpture
Size: Unframed: 66.1 x 54.4 cm (26 x 21 7/16 in.)
Medium: oil on canvas
https://clevelandart.org/art/1915.600
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Diving Cormorant, Otto H. Bacher , 1900,Cleveland Museum of Art: American Painting and Sculpture
Size: Unframed: 23 x 33.2 cm (9 1/16 x 13 1/16 in.)
Medium: oil on board
https://clevelandart.org/art/1921.571
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Fir Trees and Storm Clouds, Albert Bierstadt , c. 1870,Cleveland Museum of Art: American Painting and Sculpture
Bierstadt made his first journey West in 1859, opening the eyes of other American artists to the potential for inspiration in the Western landscape. This atmospheric study is generally associated with his inaugural 1859 trip, but may also belong to a later Western visit in 1870. The low horizon and vividly observed sky place the painting within the tradition of European plein-air (open air) oil sketching, similar to the work of John Constable. Even though the landscape occupies only a small portion of the scene, the different species of trees are carefully distinguished and the rocky outcrops are characteristic of the Western terrain where Bierstadt was traveling.
Size: Unframed: 35 x 47 cm (13 ¾ x 18 ½ in.)
Medium: oil on paper mounted on canvas
https://clevelandart.org/art/1982.37
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The Wheat Field, George Inness , c. 1875-1877,Cleveland Museum of Art: American Painting and Sculpture
Inness began his career executing detailed, realistic landscapes in a style similar to other artists of the Hudson River School. After a series of trips to Europe, as well as growing involvement in Swedenborgianism–the spiritual doctrines of the theologian Emmanuel Swedenborg–Inness created increasingly free, mystical, and expansive paintings. This work was painted following a visit to France and Italy from 1870 to 1874, during what has been considered the most important phase of Inness’s career. Here a group of farmers harvest grain in the foreground, while a storm seems to be brewing in the background. Inness frequently used approaching storms as a sign of God revealing himself in nature. The notion that the natural world was imbued with the spirit of the divine was an important component of Inness’s religious beliefs.
Size: Unframed: 50.8 x 76 cm (20 x 29 15/16 in.)
Medium: oil on canvas
https://clevelandart.org/art/1978.74
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Boat Builder, John George Brown , c. 1904,Cleveland Museum of Art: American Painting and Sculpture
Brown’s preference for rural subjects in a time when the United States was undergoing rapid industrialization suggests nostalgia for the past. Indeed, Boat Builder, an image of an elderly craftsman working alone with hand tools in a tranquil setting replete with his sleeping dog, offered its contemporary audience a distinct alternative to mechanized factory production.
Size: Framed: 98 x 120 x 11 cm (38 9/16 x 47 ¼ x 4 5/16 in.); Unframed: 80 x 101.6 cm (31 ½ x 40 in.)
Medium: oil on canvas
https://clevelandart.org/art/905.1972
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Portrait of an “Old Sea Captain”, Samuel Isham , 19th century,Cleveland Museum of Art: American Painting and Sculpture
Size: Unframed: 73.3 x 59.4 cm (28 7/8 x 23 3/8 in.)
Medium: oil on canvas
https://clevelandart.org/art/1915.87
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