William John Hennessy, Mon Brave, 1870, oil on board, Brooklyn Museum, New York, Purchased with Funds given by the Rembrandt Club. This is reminiscent of the works by the British Pre-Raphaelites who were featured in a show at the National Gallery in 2013. Here, the woman mourns her lover, lost to perhaps the American Civil War or the Franco-Prussian War (1870-1871). The artist, according to the label copy, made this to aid French peasants and includes a memorial cross and wreath with the French "mon brave" ("my brave one") and an iris flower, associated with France. The catalogue recognizes also the symbolism of the laurel leaves on top of the portrait for the soldier's heroism, the white roses included for chastity and love, the forget-me-nots, "lasting devotion." I must admit, at first glance her flowing locks were all I saw, thinking she was kissing herself in a mirror!The catalogue notes she almost appears hypnotized "reinforcing the underlying necrophiliac mood." Note the streaming window treatment continues the mood flow.
Aaron Draper Shattuck, The Shattuck Family, with Grandmother, Mother and Baby William, 1865 oil on canvas, Brooklyn Museum, New York, Given in memory of Mary and John D. Nodine, by Judith and Wilbur Ross, Here is the artist's mother and wife with their firstborn in the parlor of their summer home in Great Barrington, Massachusetts which the artist uses to convey the sanctity of a home during war. Paintings on the wall reemphasize his message in this work which omits the father, off to war Beneath the painting in the painting on the right (you have to see the original whose colors are more vibrant than seen here) is a rosary, the catalogue notes, unusual to be found in a Protestant home but which may belong to Mr. Shattuck's friend, the poet, Fitz-James O'Brien, killed in 1862 in the Civil War fighting for the Union. The catalogue notes Mr. Shattuck may have been influenced by Gone, Gone below.
Fidelia Bridges, Laura Brown in a Wingchair, 1867 oil on canvas, High Museum of Art, Atlanta, Purchase with American Art Acquisitions Fund. Laura Brown's figure seems much too small for the surroundings, especially the chair which seems to swallow her. The lighting on the carpet does not appear to match the shadows cast by the sun. This is one of six works by Ms. Bridges in the exhibition, the only works by a woman in the display.
Thomas Charles Farrer, Sketching from Nature, 1861, pen and black and brown ink on paper, cut into the shape of an arch, National Gallery of Art, Washington, John Davis Hatch Collection. Image courtesy of the Board of Trustees, National Gallery of Art, Washington. In addition to his brother, Henry, who has several works in the show, Thomas's wife, Annie R. McLane, was an artist, too, but without representation in the show.
Thomas C. Farrer, Self-Portrait, Sketching, c. 1859, pencil on tan paper with Chinese white, lent by Mr. and Mrs. Stuart P. Feld. Several works in this exhibition are by Mr. Farrer who was Mr. Ruskin's student at Working Men's College in London before Mr. Farrer immigrated to the U.S. in 1858. At age 19, Mr. Farrer made this of himself sitting in his boarding house in New York City. The catalogue says Mr. Farrer was likely influenced by Jan van Eyck's Arnolfini Portrait which probably reflects the artist's image in a mirror and which was added to the London National Gallery in 1842.
Thomas C. Farrer, Gone! Gone!, 1860, oil on canvas, The Hon. William Gibson. The title and label copy tell the story behind this work painted just before the outbreak of the Civil War. A window opens onto the Hudson River behind the lady, and behind her is a painting of parting lovers by John Everett Millais which served as the model for Farrer's sad testimony to conflict.
John Ruskin, Fragment of the Alps, c.
1854–1856, watercolor and gouache over graphite on cream wove paper,
Harvard Fogg Museum, Cambridge, Gift of Samuel Sachs. This is one of Mr. Ruskin's most celebrated works and shows his fascination with geology which he studied from childhood. He "firmly believed that the secrets of divine creation were contained in the rocky crevices and fissures of the earth," says catalogue copy. He was not the only artist intrigued by geology as illustrated by several works in the American Exhibition of British Art of 1857-1858 in New York and Philadelphia. Rocks became the source of inspiration and subjects on canvas and paper and commanded much attention among these artists. many who were Mr. Ruskin's mentees. Do you think they would support fracking if they were alive today? See the youth below studying Mr. Ruskin's masterpiece today at the National Gallery.
Ruskin's Fragment of the Alps attracts 21st century artists, too, July 9, 2019 at the National Gallery of Art/Photo by Patricia Leslie
Henry Farrer, Winter Scene in Moonlight, 1869, watercolor and gouache on white wove paper, Lent by The Metropolitan Museum of Art, Purchase, Morris K. Jessup Fund, Martha and Barbara Fleischman, and Katherine and Frank Martucci Gifts, 1999. The catalogue has little to say about Winter Scene, the artist's earliest landscape watercolor. which seems oddly out of place, sharing space with flowers and verdant nature likenesses. Winter Scene reminds me of Nordic countries and the Phillips Collection's recent show, Nordic Impressions. Indeed, the wall copy says this nighttime scene is unusual for the American Pre-Raphaelites and may be a drawing of Brooklyn which was still rural where the artist, the younger brother of Thomas Farrer, lived. The brothers have several works in the exhibition.
William Trost Richards, In The Woods, 1860, oil on canvas, Bowdoin College Museum of Art, Brunswick, Gift of Miss Mary T. Mason and Miss Jane Mason
Fidelia Bridges, Study of Ferns, 1864, oil on board, New Britain Museum of American Art, Gift of Jean E. Taylor. Ms. Bridges is the only female artist represented in the show which has six of her works on display.
William Trost Richards, Landscape, c. 1863–1864, oil on canvas, Crystal Bridges Museum of American Art. This is the museum founded by Alice Walton, daughter of the Walmart founder, Sam Walton, which is located at the birthplace and headquarters of Walmart in Bentonville, Arkansas. Admission is free. I inferred from the wall copy that a critic's condescending remarks indicated his belief this was not worthy f Mr. Richards's inclusion in respectable artists' circles, but perhaps I am overly critical of the critic.
William Trost Richards, Path in the Woods, 1861, oil on canvas, private collection.
Henry Roderick Newman, 1843-1917, The Temple Door at Abu Simbel, 1900, watercolor, private collection. Here the artist depicts the temple of Ramses II at Abu Simbel in Nubia on the Upper Nile
Henry Roderick Newman, Ramleh, 1893, watercolor on paper, private collection. Ramleh, now a neighborhood in Alexandria, Egypt, was formerly a fashionable resort where Mr. Newman and his wife wintered almost every year beginning in 1887. After his first trip to Europe in 1870, they settled in Florence in 1874 where their home became a center for artists and tourists. His Egyptian drawings commanded respectable audiences
. If Egyptian art seems out of place here, Mr. Newman was the "last Ruskinian" and, as the wall copy says, the American Pre-Raphaelites "traded picturesque conventions for a quasi-scientific precision that was also charged with spiritual significance." I still don't get it other than Mr. Newman was a Ruskin student and Mr. Newman liked Egypt and there you have it. (I like Egypt, too, and that's why these are included here.) Also, I believe Mr. Ruskin traveled several times to Mr. Newman's studio in Florence. Mr. Newman was also one of the "first significant American painters" to work in Florida. He was born in Easton, NY.
With the American Pre-Raphaelites: Radical Realists and the Egyptians at the National Gallery of Art/Photo by Patricia Leslie
If ever I need a respite from Washington's heat, the National Gallery of Art is a perfect place to find escape and cool down amidst greenery and flowers in paintings by American Pre-Raphaelites: Radical Realists which hang on the walls for a few days more on the ground floor of the West Building.
Like most of the exhibitions at the National Gallery, I want them all to stay so I can return and see the art anew. Especially for the Pre-Raphaelites, whether they are American, who are in the galleries now, or the British who came in 2013.
Whatever does "pre-Raphaelite" mean? Wikipedia says it much better than I:
The group's intention was to reform art by rejecting what it considered the mechanistic approach first adopted by Mannerist artists who succeeded Raphael and Michelangelo. Its members believed the Classical poses and elegant compositions of Raphael in particular had been a corrupting influence on the academic teaching of art, hence the name "Pre-Raphaelite."
The sub-title of this show, Radical Realists, certainly does not conform to contemporary definition of radical, but in the 19th century, they were "radical," we are told.
From the rocks of the Alps to woody wanderings to Egyptian palm trees and monuments, you can lose yourself and travel to faraway places on these walls.
The hardbound catalogue ($65) by curators Linda S. Ferber of the New York Historical Society and Nancy K. Anderson of the National Gallery has 312 pages and 210 color illustrations, with photos and brief biographical notes about the artists and patrons. Save $20 on a $100 purchase.
What: American Pre-Raphaelites: Radical Realists
When: Now through July 21, 2019, 10 a.m. - 5 p.m., Monday through Saturday, and 11 a.m. - 6 p.m., Sunday
Where: Ground floor, the West Building, National Gallery of Art, 4th at Constitution, NW, Washington, D.C.
Admission: No charge
Metro stations: Smithsonian, Federal Triangle, Navy Memorial-Archives, or L'Enfant Plaza
For more information: 202-737-4215
patricialesli@gmail.com
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