1730-1900 Galleries 1 - 3 | Newark Museum
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1730-1900 Galleries 1 - 3

The American Colonies, 1730-1776

 

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The eastern seaboard from New England to Georgia, still largely agricultural, was part of the British colonial empire. The colonies' growing prosperity was driven by the thriving mercantile economy of northern port cities and the abundant production of Southern plantations.

Family pride and a desire to flaunt their prosperity and social position prompted successful colonial merchants and rural gentry to commission portraits, which they displayed for family and friends in their front halls and parlors.
Portrait of Mrs. Joseph Scott
 

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Modeling themselves on English aristocrats whose lifestyle they admired, prosperous colonists had their  portraitists copy the poses and accessories found in English court portraits, widely available in the colonies in the form of engravings. But this copying was only partially successful: colonial artists were often  self-taught and their canvases lacked the sophistication of their English counterparts.
 

 

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Images (top to bottom):

Pieter Vanderlyn, Portrait of Catherine Ogden, ca. 1730, Oil on canvas, Purchase 1976 The Members’ Fund, Charles W. Engelhard Bequest Fund, Anonymous Fund 76.181

John Singleton Copley, Portrait of Mrs. Joseph Scott, ca. 1765, Oil on canvas, Purchase 1948 The Members’ Fund 48.508

John Wollaston, Family Group, ca. 1750, Oil on canvas, Purchase 1956 The Members’ Fund  56.231 

 

The Young Republic, 1790-1860

 

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In the period between the Revolution and the Civil War, settlers moved westward, transforming the landscape from a wilderness into a patchwork of farms, towns and cities. As pioneers pushed the young nation's boundaries to the Pacific, the government uprooted Native peoples, relocating them to reservations west of the Mississippi.

 

The North and South moved apart economically and socially as the North industrialized and the South remained an agrarian economy whose prosperity depended on the increasingly controversial system of slavery.

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Artists, intent on inventing a visual identity for the young republic, chose themes that reflected the prevailing view that the founding of this nation was part of  God's special design. Leaders were depicted as heroic and the country were portrayed as a lush wilderness  or a peacefullanddotted with farms.

 

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Images (top to bottom):

William Tylee Ranney, The Pipe of Friendship, 1857-59, Oil on canvas, Gift of Dr. J. Ackerman Coles, 1920 20.1342

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John Ehninger, Yankee Peddler, 1858, Oil on canvas, Gift of William F. Laporte, 1925 25.876

Hiram Powers, The Greek Slave, 1847, Marble, Gift of of Franklin Murphy, Jr., 1926  26.2755

Raphaelle Peale, Still-Life Watermelon and Fruit, 1822, Oil on canvas, Purchase 1960 The Members’ Fund  60.581

 

 

 

 

 

 

Romantic Portraits for Eastern Cities, 1790-1860 

 

 

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During the first third of the century, Americans who purchased art were primarily interested in portraits. The majority of commissions came from successful manufacturers and merchants who were amassing fortunes in the booming northeastern port cities. As a result, the best artists settled, exhibited and studied in New York, Philadelphia and Boston.

 

 

 

 

 

 

 

 

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Artists tended to play up the psychology of their sitters, rather than their wealth and station. They were influenced by European Romanticism, a movement that exalted powerful emotions and revered Roman Ladyindividual genius. 

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 Expressive faces and dramatic lighting further underscore the sitters' intensity.

 

Make Room to Wonder.

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