#cmaamericanart
cma-american-painting-sculpture:
Fifth Avenue Nocturne, Childe Hassam , c. 1895,Cleveland Museum of Art: American Painting and Sculpture
Boston native Childe Hassam began painting in an Impressionist style during a three-year stay in Paris, from 1886 to 1889. On settling in New York City in 1889, he became one of America’s leading Impressionists. Among his favorite subjects were scenes observed around his studio on Fifth Avenue. The subdued monotones of this view of Fifth Avenue on a rainy night suggest the influence of American painter James Abbott McNeill Whistler (1834-1903). Whistler also painted “nocturnes” (a word alluding to a type of musical composition) in which forms are poetically suggested rather than clearly defined.
Size: Framed: 75.6 x 66 x 7.6 cm (29 ¾ x 26 x 3 in.); Unframed: 61.2 x 51 cm (24 1/8 x 20 1/16 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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cma-american-painting-sculpture:
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
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cma-american-painting-sculpture:
Capri, William Stanley Haseltine , 1869,Cleveland Museum of Art: American Painting and Sculpture
The Philadelphia-born Haseltine favored images of coastal rocks, painting them on both sides of the Atlantic throughout his career. Best known for his scenes of Maine and Massachusetts shorelines, Haseltine based this painting on volcanic rocks from the uninhabited eastern end of Capri, an island off the southwestern coast of Italy.
Size: Framed: 69.5 x 99.5 x 9 cm (27 3/8 x 39 3/16 x 3 9/16 in.); Unframed: 50 x 80 cm (19 11/16 x 31 ½ in.)
Medium: oil on canvas
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cma-american-painting-sculpture:
Yosemite Valley, Albert Bierstadt , 1866,Cleveland Museum of Art: American Painting and Sculpture
During the summer of 1863, Bierstadt visited Yosemite Valley in California and made numerous sketches. Back in his New York studio, he used them to produce many majestic paintings, including this view of Half Dome, one of Yosemite’s most distinctive features. Such scenes thrilled East Coast audiences and helped encourage early movements to save America’s natural wonders. In 1864, President Lincoln signed a bill preserving Yosemite as public property. It became a national park in 1890.
Size: Framed: 135.3 x 181 x 15.6 cm (53 ¼ x 71 ¼ x 6 1/8 in.); Unframed: 97 x 142.3 cm (38 3/16 x 56 in.)
Medium: oil on canvas on panel-back stretcher
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cma-american-painting-sculpture:
Maternal Solicitude, Arthur Fitzwilliam Tait , 1873,Cleveland Museum of Art: American Painting and Sculpture
Size: Unframed: 49.5 x 61 cm (19 ½ x 24 in.)
Medium: oil on wood
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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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cma-american-painting-sculpture:
Yosemite Valley, Albert Bierstadt , 1866,Cleveland Museum of Art: American Painting and Sculpture
During the summer of 1863, Bierstadt visited Yosemite Valley in California and made numerous sketches. Back in his New York studio, he used them to produce many majestic paintings, including this view of Half Dome, one of Yosemite’s most distinctive features. Such scenes thrilled East Coast audiences and helped encourage early movements to save America’s natural wonders. In 1864, President Lincoln signed a bill preserving Yosemite as public property. It became a national park in 1890.
Size: Framed: 135.3 x 181 x 15.6 cm (53 ¼ x 71 ¼ x 6 1/8 in.); Unframed: 97 x 142.3 cm (38 3/16 x 56 in.)
Medium: oil on canvas on panel-back stretcher
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cma-american-painting-sculpture:
Fifth Avenue Nocturne, Childe Hassam , c. 1895,Cleveland Museum of Art: American Painting and Sculpture
Boston native Childe Hassam began painting in an Impressionist style during a three-year stay in Paris, from 1886 to 1889. On settling in New York City in 1889, he became one of America’s leading Impressionists. Among his favorite subjects were scenes observed around his studio on Fifth Avenue. The subdued monotones of this view of Fifth Avenue on a rainy night suggest the influence of American painter James Abbott McNeill Whistler (1834-1903). Whistler also painted “nocturnes” (a word alluding to a type of musical composition) in which forms are poetically suggested rather than clearly defined.
Size: Framed: 75.6 x 66 x 7.6 cm (29 ¾ x 26 x 3 in.); Unframed: 61.2 x 51 cm (24 1/8 x 20 1/16 in.)
Medium: oil on canvas
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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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The Blue Gown (Portrait of Ethel Coe), Martha S. Baker , 1899,Cleveland Museum of Art: American Painting and Sculpture
Size: Diameter: 10 cm (3 15/16 in.); Diameter of frame: 10.8 cm (4 ¼ in.)
Medium: watercolor on ivory
https://clevelandart.org/art/1915.142
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Card Rack with a Jack of Hearts, John F. Peto , c.1895,Cleveland Museum of Art: American Painting and Sculpture
Peto specialized in a type of painting called trompe l’oeil, which is French for “fools the eye.” Trompe l’oeil painters strive to trick viewers into thinking what they see is real. Peto achieved such an effect by depicting items that in actuality are almost flat, such as the scraps of paper and clothtape letter rack. As a result, viewers cannot rely on spatial clues to distinguish between reality and illusion. Peto’s choice of objects creates evocative associations. Here the well-known Matthew Brady photograph of Abraham Lincoln carries with it memories of the president’s assassination. The jack of hearts, often used as a wild card, alludes to elements of chance and luck. In a humorous touch, Peto rendered a cigarette butt at the bottom of the canvas, making it appear to rest on the picture’s frame. The exact meaning of this grouping remains unclear, but Peto evidently saw his world as simultaneously tragic and comic.Peto was a master of the “rack picture,” a type of trompe l'oeil (“fool the eye”) painting that depicts, with scrupulous detail, miscellaneous scraps of paper attached to a wooden board by strips of cloth tape. Portrayed here is a letter-rack grid with a central X, inside which the artist tacked envelopes, cards, a Jack of Hearts, and a well-known Mathew Brady photograph of Abraham Lincoln. Peto began painting these pictures to decorate offices–as illusions of bulletin boards. Peto was something of a recluse and worked most of his life in obscurity, first in Philadelphia and later in the seaside village of Island Heights, New Jersey. He was devoted to battered lamps, old candlesticks, dilapidated books, and similar things. In this he ran counter to the taste of his times, which preferred still lifes of rich, rare, and fancy objects. His work thus failed to attract a large audience during his lifetime.
Size: Framed: 95.9 x 83.2 x 4.4 cm (37 ¾ x 32 ¾ x 1 ¾ in.); Unframed: 76.2 x 63.5 cm (30 x 25 in.); Former: 95.9 x 83.2 x 5.7 cm (37 ¾ x 32 ¾ x 2 ¼ in.)
Medium: oil on canvas
https://clevelandart.org/art/1973.30
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Pair of Portrait Miniatures, John Wesley Jarvis , c. 1810,Cleveland Museum of Art: American Painting and Sculpture
Size: Framed: 7.3 x 6.3 cm (2 7/8 x 2 ½ in.); Unframed: 7.3 x 5.7 cm (2 7/8 x 2 ¼ in.); Part 2: 7.6 x 6.4 cm (3 x 2 ½ in.); Part 3: 7 x 5.7 cm (2 ¾ x 2 ¼ in.)
Medium: watercolor on ivory
https://clevelandart.org/art/1940.1213
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Landscape near Granby, Connecticut, Hendrik Dirk Kruseman van Elten , 1870s,Cleveland Museum of Art: American Painting and Sculpture
Size: Unframed: 32 x 54.6 cm (12 5/8 x 21 ½ in.)
Medium: oil on canvas
https://clevelandart.org/art/427.1915
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Pointe de Cabellou, Brittany, William L. Picknell , 1881,Cleveland Museum of Art: American Painting and Sculpture
Size: Unframed: 60.3 x 92.2 cm (23 ¾ x 36 5/16 in.)
Medium: oil on canvas
https://clevelandart.org/art/1984.13
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Memento Mori, “To This Favour”, William Michael Harnett , 1879,Cleveland Museum of Art: American Painting and Sculpture
The Latin term memento mori describes a traditional subject in art that addresses mortality. In Harnett’s example, the extinguished candle, spent hourglass, and skull symbolize death. A quote from William Shakespeare’s Hamlet, inscribed on the inside cover of a tattered book, reinforces the theme. It comes from the play’s famed graveyard scene where Hamlet discovers a skull and grimly ponders his beloved Ophelia, ironically unaware that she is already dead. The “paint” in the quote not only refers to Ophelia’s makeup, but also wittily evokes the artifice of Harnett’s picture.
Size: Framed: 77.9 x 98.4 x 8.6 cm (30 11/16 x 38 ¾ x 3 3/8 in.); Unframed: 61.3 x 81.5 cm (24 1/8 x 32 1/16 in.)
Medium: oil on canvas
https://clevelandart.org/art/1965.235
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Diana, Augustus Saint-Gaudens , modeled 1899,Cleveland Museum of Art: American Painting and Sculpture
Size: Overall: 99.7 x 42.2 cm (39 ¼ x 16 5/8 in.); Base: 33 x 33 cm (13 x 13 in.)
Medium: bronze
https://clevelandart.org/art/1946.354
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Dr. John W. Francis, Daniel Huntington , 1857,Cleveland Museum of Art: American Painting and Sculpture
Size: Unframed: 76 x 66 cm (29 15/16 x 26 in.)
Medium: oil on canvas
https://clevelandart.org/art/1916.2063
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An October Day, Frank K. M. Rehn ,Cleveland Museum of Art: American Painting and Sculpture
Size: Unframed: 40.8 x 71 cm (16 1/16 x 27 15/16 in.)
Medium: oil on canvas
https://clevelandart.org/art/1924.963
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The Stubble Field, Henry Golden Dearth , c. 1909,Cleveland Museum of Art: American Painting and Sculpture
Size: Unframed: 81 x 115.5 cm (31 7/8 x 45 ½ in.)
Medium: oil on canvas
https://clevelandart.org/art/1924.198
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Frederic Betts, Henry Inman , 1830s,Cleveland Museum of Art: American Painting and Sculpture
Size: Unframed: 87.7 x 69 cm (34 ½ x 27 3/16 in.)
Medium: oil on canvas
https://clevelandart.org/art/1994.116.1
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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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