Mrs. Matson Meier-Smith (1829-after 1891)
Classification:
Highlight:
Not promoted
Date:
ca. 1850-1855
Medium:
Oil on canvas
Dimensions:
Overall: 24 x 19 3/4 in. ( 61 x 50.2 cm )
Credit Line:
Bequest of Mary Constance DuBois
Object Number:
1959.86
Gallery Label:
Mary Stuart White, the daughter of Norman White of New York, married the Rev. Dr. Matson Meier-Smith (1826-87) on November 14, 1849. The family lived in Connecticut, New Jersey, and finally Philadelphia, where Dr. Meier-Smith was a professor at the Episcopal Divinity School.
Date Begin:
0
Date End:
1855
eMuseum Object ID:
26337
Due to ongoing research, information about this object is subject to change.
Rain
Classification:
Date:
ca. 1946
Medium:
Oil on canvas
Dimensions:
Overall: 20 x 34 1/4 in. ( 50.8 x 87 cm )
Credit Line:
Purchase, Foster-Jarvis Fund and Mr. Henry Goldberg
Object Number:
1976.5
Gallery Label:
This is a part of the artist's 59th Street series.
Date Begin:
0
Date End:
1946
eMuseum Object ID:
25724
Due to ongoing research, information about this object is subject to change.
Running Action Between the U.S. Frigate President and H.M.S. Endymion
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Classification:
Highlight:
Not promoted
Date:
1815
Medium:
Oil on canvas
Dimensions:
Overall: 16 x 22 in. ( 40.6 x 55.9 cm )
Framed: 18 3/4 × 24 × 2 3/4 in. (47.6 × 61 × 7 cm)
Description:
Marine view depicting January 15, 1815, confrontation between U.S. Frigate President and H.M.S. Endymion.
Credit Line:
Bequest of Irving S. Olds
Object Number:
1963.59
Marks:
signed: lower left: "T. Buttersworth."
Gallery Label:
This painting was purchased by the donor from the Old Print Shop, New York City, in 1959. The scene it depicts is identical to the scene shown in aquatints by Joseph Jeakes that were engraved after paintings by Buttersworth and published in London on June 1, 1815.
Date Begin:
0
Date End:
1815
eMuseum Object ID:
23855
Due to ongoing research, information about this object is subject to change.
Il Pappagallo
Classification:
Date:
ca. 1841
Medium:
Oil on canvas
Dimensions:
Overall: 29 1/2 x 24 in. ( 74.9 x 61 cm )
Credit Line:
Gift of the Durand family
Object Number:
1903.5
Gallery Label:
This study was painted from a model in Rome and was called Girl with a Parrot. The artist regarded Il Pappagallo as one of his major works.
Bibliography:
"Editor's Table," The Knickerbocker, June 1842, pp. 588-93.
Lewis, E. Anna, "Art and Artists of America: Asher Brown Durand," Graham's Magazine, Philadelphia, Vol. XLV, No. 4, October 1854, p. 321.
Tuckerman, Henry T., Book of the Artists, American Artist Life, Comprising Biographical and Critical Sketches of American Artists: Preceded by an Historical Account of the Rise and Progress of Art in America, New York: P. Putnam & Son, 1867, p. 193.
Clement, Clara Erskine, and Hutton, Laurence, Artists of the Nineteenth Century and their Works: A Handbook Containing Two Thousand and Fifty Biographical Sketches, Boston: Houghton, Mifflin and Company, 1880, Vol. I, p. 227.
Executor's Sale, Studies in Oil by Asher B. Durand, N.A., Deceased, Ortgies' Art Gallery, New York, April 13 and 14, 1887.
Huntington, Daniel, Asher B. Durand: A Memorial Address, New York: G. P. Putnam's Sons, 1887, p. 32.
Durand, John, The Life and Times of Asher B. Durand, (New York: Charles Scribner's Sons, 1894; Reprint, Hensonville, NY: Black Dome Press, 2007), pp. 163-4.
"Pictures by Durand," The New York Times, April 26, 1903, p. 34.
Johnson, Rossiter, ed., The Twentieth Century Biographical Dictionary of Notable Americans: Brief Biographies of Authors, Administrators, Clergymen, Commanders, Editors, Engineers, Jurists, Merchants, Officials, Philanthropists, Scientists, Statesmen, and Others Who Are Making American History, Boston: The Biographical Society, 1904, Vol. III, n.p.
Catalogue of the Gallery of Art of The New York Historical Society, New York: Printed for the Society, 1915, p. 39.
Lawall, David B., Asher Brown Durand: His Art and Art Theory in Relation to his Times, Submitted to Princeton University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy, March 1966, pp. 101, 130-3, 156-62, 445, 609, 616, 671.
Marlor, Clark S., A History of the Brooklyn Art Association with an Index of Exhibitions, New York: James F. Carr, 1970, pp. 178, 409.
Caldwell, John S., Asher B. Durand's Travels in Europe, 1840-1841 and their Role in his Artistic Development, Submitted to Hunter College in partial fulfillment of the requirements for the degree of Master of Arts, 1973, pp. 43-5.
Koke, Richard J., American Landscape and Genre Paintings in the New York Historical Society, Vol. I, New York: The New-York Historical Society, 1982, p. 314.
Foshay, Ella M., Luman Reed's Picture Gallery: Pioneer Collection of American Art, New York: Harry N. Abrams, Inc., 1990, p. 157.
Stebbins, Jr., Theodore E., The Lure of Italy: American Artists and the Italian Experience 1760-1914, Boston: Museum of Fine Arts, in association with Harry N. Abrams, Inc., 1992, p. 194.
Smith, Alvy Ray, compiled by, Dr. John Durand (1664-1727) of Derby Connecticut: His Family Through Four Generations Featuring the Branch of His Youngest Son Ebenezer Durand Through Ten Generations to 2003, Boston: Newbury Street Press, 2003, p. 218.
Orcutt, Kimberly, "Revising History": Creating a Canon of American Art at the Centennial Exhibition, New York, submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, the City University of New York, 2005,p. 364.
Ferber, Linda S., ed., Kindred Spirits Asher B. Durand and the American Landscape, Brooklyn Museum, 2007, pp. 111-3, Chronology.
Date Begin:
0
Date End:
1841
eMuseum Object ID:
23749
Due to ongoing research, information about this object is subject to change.
Farm Yard, Winter
Classification:
Date:
1862
Medium:
Oil on canvas (relined)
Dimensions:
Overall: 26 1/4 x 36 1/4 in. ( 66.7 x 92.1 cm )
Credit Line:
The Robert L. Stuart Collection, the gift of his widow Mrs. Mary Stuart
Object Number:
S-196
Gallery Label:
Durrie exhibited a study in 1860 at the NAD (National Academy of Design), no. 296. Farm Yard in Winter (for sale), which may be an earlier version. The painting owned by the Society was probably purchased by Robert L. Stuart at the Snedicor auction of Durrie works in December 1862.
Date Begin:
0
Date End:
1862
eMuseum Object ID:
23378
Due to ongoing research, information about this object is subject to change.
New York From New Jersey
Classification:
Date:
1872
Medium:
Oil on canvas
Dimensions:
Overall: 29 x 19 x 2 1/4 in. ( 73.7 x 48.3 x 5.7 cm )
Description:
showing to the left people walking on the Jersey Shore, to the right Hudson with boats, in the distance New York City
Credit Line:
Gift of Margarete R. Altenhein
Object Number:
1988.63
Marks:
inscriptions: signed and dated lower left: W. R. Miller 1872
Date Begin:
0
Date End:
1872
eMuseum Object ID:
22951
Due to ongoing research, information about this object is subject to change.
Lake George, N.Y.
Classification:
Date:
1905
Medium:
Oil on canvas
Dimensions:
Overall: 11 3/8 x 6 1/2 in. ( 28.9 x 16.5 cm )
Credit Line:
Gift of Nora Durand Woodman
Object Number:
1935.11
Date Begin:
0
Date End:
1905
eMuseum Object ID:
22949
Due to ongoing research, information about this object is subject to change.
The Solitary Oak (The Old Oak)
Collections:
Classification:
Date:
1844
Medium:
Oil on canvas (relined)
Dimensions:
Overall: 36 x 48 in. ( 91.4 x 121.9 cm )
Framed: 4 1/2 x 46 3/4 x 58 3/4 in. (11.4 x 118.7 x 149.2 cm)
Credit Line:
Gift of The New-York Gallery of the Fine Arts
Object Number:
1858.75
Gallery Label:
Durand's original title for this painting was The Solitary Oak with the Old oak listed as a later designation.
Bibliography:
"National Academy of Design," The New York Herald, April 27, 1844, p.1, col. 6.
Deming, Henry C., and MacKay, James, eds., The New World, New York: Vol. VIII, No. 18, May 4, 1844, p. 562, col. 1.
"National Academy of Design," The Anglo American, Vol. III, No. 5, May 25, 1844, pp. 116-7.
Tuckerman, Henry T., Book of the Artists, American Artist Life, Comprising Biographical and Critical Sketches of American Artists: Preceded by an Historical Account of the Rise and Progress of Art in America, New York: P. Putnam & Son, 1867, p. 621.
"Pictures by Durand," The New York Times, April 26, 1903, p. 34.
Richardson, E. P., Painting in America: The Story of 450 Years, New York: Thomas Y. Crowell Company, 1956, p. 170.
Pierson Jr., William H., and Davidson, Martha, eds., Arts of the United States: A Pictorial Survey, New York: McGraw-Hill Book Company, Inc., 1960, p. 304.
Novak, Barbara, "Asher B. Durand and European Art," The Art Journal, Vol. XXI, Summer 1962, pp. 250-2.
Green, Samuel M., American Art: A Historical Survey, New York: The Ronald Press Company, 1966, p. 252.
Lawall, David B., Asher Brown Durand: His Art and Art Theory in Relation to his Times, Submitted to Princeton University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy, March 1966, pp. 113, 359, Fig. 133.
Caldwell, John S., Asher B. Durand's Travels in Europe, 1840-1841 and their Role in his Artistic Development, Submitted in partial fulfillment of the requirements for the degree of Master of Arts, Hunter College, The City University of New York, 1973, pp. 14-5, 23-4, 28-9, 35.
Lawall, David B., Asher B. Durand: A Documentary Catalogue of the Narrative and Landscape Paintings, New York & London, Garland Publishing, Inc., 1978, pp. 41-3.
Koke, Richard J., American Landscape and Genre Paintings in the New York Historical Society, Vol. I, New York: The New-York Historical Society, 1982, pp. 318-21.
Mann, Maybelle, "The New-York Gallery of Fine Arts: 'A Source of Refinement,'" American Art Journal, Vol. XI, January 1979, p. 83-4.
Caldwell, John and Roque, Oswaldo Rodriguez, American Paintings in the Metropolitan Museum of Art, Vol. I, A Catalogue of Works by Artists Born by 1815, New York: The Metropolitan Museum of Art, 1994, pp. 423-4.
Georgi, Karen L., Asher B. Durand's American Landscapes and the Nature of Representation, Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy, 2000, pp. 17-8, 122-57.
New-York Historical Society, Perspectives on the Collections of The New-York Historical Society, New York: The New-York Historical Society, 2000, pp. 32-3.
Bedell, Rebecca, The Anatomy of Nature: Geology & American Landscape Painting, 1835-1875, Princeton: Princeton University Press, 2001, pp. 55, 160.
Vedder, Lee A., "Heeding the Call of Nature: Asher Brown Durand's Communion with the American Landscape," The New-York Journal of American History, New York: New-York Historical Society, Vol. LXV, No. 4, Fall 2004, pp. 34-5, 45.
Ferber, Linda S., ed., "Asher B. Durand, American Landscape Painter," Kindred Spirits Asher B. Durand and the American Landscape, Brooklyn Museum, 2007, pp. 143, 201, 214, 217.
Vedder, Lee A. "Nineteenth-century American paintings." The Magazine Antiques 167 (2005): 146-155.
Date Begin:
0
Date End:
1844
eMuseum Object ID:
22948
Due to ongoing research, information about this object is subject to change.
Hastings-on-Hudson
Collections:
Classification:
Date:
ca. 1860
Medium:
Oil on canvas
Dimensions:
Overall (canvas): 16 3/4 x 24 in. (42.5 x 61 cm)
Frame: 26 1/2 x 33 1/2 x 2 3/4 in. ( 67.3 x 85.1 x 7 cm )
Credit Line:
Gift of Nora Durand Woodman
Object Number:
1932.12
Gallery Label:
This plein air study documents a still-rural landscape scene in what was rapidly becoming suburban Westchester County. Durand's straightforward record shows a dirt road carved out of the surrounding woods. Its bare surface is unrelieved by any bordering plant life and enlivened only by the pattern of tree shadows thrown across its width from the left. One might guess that Durand, out trekking and searching for pictorial subject matter, was inspired by these bold patterns of light and shadow to execute an afternoon plein air study right in the middle of the roadway.
Bibliography:
Lawall, David B., Asher Brown Durand: His Art and Art Theory in Relation to his Times, Submitted to Princeton University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy, March 1966, p. 260.
Lawall, David B., Asher B. Durand: A Documentary Catalogue of the Narrative and Landscape Paintings, New York & London, Garland Publishing, Inc., 1978, pp. 174.
Koke, Richard J., American Landscape and Genre Paintings in the New York Historical Society, Vol. I, New York: The New-York Historical Society, 1982, p. 357.
Date Begin:
0
Date End:
1860
eMuseum Object ID:
22947
Due to ongoing research, information about this object is subject to change.
James Beekman, Jr. (1758-1837)
Classification:
Date:
1767
Medium:
Oil on canvas
Dimensions:
Overall: 36 x 28 in. ( 91.4 x 71.1 cm )
Description:
Portrait of a boy with a squirrel.
Credit Line:
Gift of the Beekman Family Association
Object Number:
1962.71
Gallery Label:
This is one of the six portraits of his eldest children James Beekman (1732-1807) commissioned from John Durand in the 1760s. James Beekman, Jr. studied at Princeton intermittently between 1770 and 1775. He married Lydia Watkins Drew and following the death of his brother William, inherited the family’s country estate and portraits. Like those of the other family members, this portrait of James Jr., at age nine, relies on poses and motifs from English mezzotints. While squirrels were common pets in colonial America, the one perched on James’s arm, taking meat from a nut, also symbolizes perseverance, diligence, and patience. His clothing, which is more ornate than the other children’s, may reflect his recent “breeching,” an important right of passage for young boys, when they would begin to wear knee breeches and dress in men’s clothing much like their father’s.
John Durand (1731-1805) first began working in Virginia in 1765, but by 1766 had moved to New York City to paint portraits of the Beekman children for their father James Beekman. Durand’s background and training are unknown, but his use of rococo colors, interest in historical paintings and reference to his name in French lead art historians to believe he was born or trained in France. He left New York in 1768 as one of the city’s most celebrated painters and returned to Virginia, where he lived for most of the remainder of his life. The style of his late work executed in Virginia changed notably, never garnering him the critical acclaim and popular response his early New York portraits received.
All six portraits of the Beekman children bear elaborately carved and gilded frames by the New York carver James Strachan, which are superior examples of rococo ornament, a style all the rage among the American colonial elite during the mid-eighteenth century. The children's portraits, as well as those of James Beekman and his wife, remained in the Beekman family until presented to the New-York Historical Society through the Beekman Family Association.
Date Begin:
0
Date End:
1767
eMuseum Object ID:
22946
Due to ongoing research, information about this object is subject to change.
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