In pencil along lower r. edge: #86 Sketch #1 a lockplate inscribed: Iron Back is blacked the leaves / however are of a steel color which / produces a splendid effect./ the leaves are not only cut out but modelled very/ strangly producing splendid lights and shades ; also: A projects at least 3/4" and is thinned down towards the leaves; also: A Sketch #2 inscribed: this little hinge has/ stunning effect the little/ leaves at the edges are/ modelled the least bit Sketch #3 insribed below sketch: Door Handle of 15th century
Landscape painting with white mountain peak in center background, body of water in foreground, and a Native American encampment to left.
Painted from The Dalles, an area known as the end of the Oregon Trail along the Columbia River, this view of Mount Hood, the surrounding Oregon landscape, and a Native American encampment is a composite picture, painted from memory with the aid of sketches and daguerreotypes.
Stanley was a largely self-taught artist who developed his style, reminiscent of the Hudson River School of painters, as a staff artist for expeditions to the West in the 1840 and 50s.
Sketch #1 inscribed: these little ribs are no more than a 16 of an inch wide and about '132" thick ; referring to Gothic Srecery at top: these leaves are seperate but very little also modelled beautifully Sketch #2 inscribed: thin iron ; also: this at the end is thin but near key hole becomes about 5/16" thick Sketch #3 inscribed: thin at end becomes thicker towards key hole ; to lower left: thin plate iron cut out and rivetted onto plate below cut out mark slightly modeled and tool marked. this is one of the most beautiful in design I think I have seen.
Painting depicts a solitary male figure standing along the shore. The thin layers of paint evoke a misty, overcast day with the figure standing perhaps on a tidal flat.
Whistler accompanied the Realist painter Gustave Courbet in a late summer painting campaign along the Normandy coast, in the resort town of Trouville. Although Whistler had embraced the tenets of Realism early in his career, by 1865 he had begun to evolve his own painting style that departed from the vigorous brushwork and heavy impasto of Courbet's example. This work, painted in the older artist's company, exhibits Whistler's characteristic thin veils of paint that evoke the atmosphere along the coastline rather than minutely describe it. The presence of the man implies no narrative story but is a precisely placed accent within the composition. Whistler's credo of "art for art's sake" has already shaped how he portrays a cloudy day at a summer retreat.
Bronze sculpture of a standing male figure his right hand holding a shield which rests upon a stack of book while his left arm is outstretched hovering over the crouching figure of an African American male figure.
At the end of the Civil War (1861–65) there was an effort to promote an American Renaissance and to beautify cities with civic monuments and public sculpture. Sculptors, including Randolph Rogers, were commissioned to produce memorials that addressed themes of war and slavery and to commemorate military heroes, from the common soldier to President Abraham Lincoln himself. This work is a maquette for the Emancipation Memorial in Washington D.C.’s Lincoln Park, which depicts Abraham Lincoln as the “Great Emancipator” freeing a slave, establishing a narrative of theoretical peace and unity.