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Painting
Kivetoruk Moses spent his youth and middle years zestfully hunting seal, reindeer, and polar bear through the Alaskan snows. He became rich trading in furs and sled dogs in Siberia and his native Cape Espenberg on the Seward Peninsula.
In painting the romance of the American cowboy, Remington knew instinctively what would grip his audience and held it fast.
In the summer of 1885 a young artist from New York by way of Kansas City found himself resting by a campfire with a couple of prospectors out in Arizona Territory at a time when Geronimo was on the prowl, perhaps “even in our neighborhood.” It was about 9 o’c
She was eighteen—pretty and sensitive, to judge by her photograph, taken in 1863. For many another girl, that age would have represented a new chapter in life in the form of a husband, children, a home of her own.
Seventh in a series of paintings for AMERICAN HERITAGE
At its northern end Manhattan Island shrinks to a spur of ground three quarters of a mile wide, bounded by the Harlem River on one side and the Hudson on the other.
For most Americans who pass that way today, Bridgeport, Connecticut, is a place to get through as soon as possible.
The man who paints his own likeness in a sense turns inside out the famous line of Robert Burns. He is given the gift to show others how he sees himself. This is a revelation of no small interest or importance.
A Portfolio of Paintings
Americans have always loved steam. We cannot claim the steam engine as our invention, but we did adopt it at once and brought it to the peak of its development.
Fifth in a series of painting for
AMERICAN HERITAGE
One of the ghastliest incidents of the Revolution took place at Groton, Connecticut, during the last engagement of the war in the north.
Fourth in a series of paintings for AMERICAN HERITAGE
American spirits were at a low ebb as the year 1776 drew to a close.
An English artist recaptures on canvas the American ships that once ruled the seas
The Stag Hound (left) was an impressive sight whenever she entered New York Harbor; she was so heavily sparred she could carry nearly eleven thousand yards of canvas.
Third in a series of paintings for AMERICAN HERITAGE BY DON TROIANI
Major General Nathanael Greene, commanding the Continental Army in the south, spent mid-March of 1781 trying to lure Cornwallis and his army into battle on advantageous ground.
The proper Baltimore gentry of the mid-nineteenth century who paid Hans Heinrich Bebie to paint their portraits posed for the staid, rather dour man (or so he seemed) whose own self-portrait appears to the left.
Charles Marion Russell, born outside St. Louis, in Oak Hill, Missouri, of a locally prominent family in 1864, came west to Montana Territory four days short of his sixteenth birthday.
“I do not admit that a woman can draw like that,” said Degas when he saw one of her pictures
At eight o’clock on the evening of June 14, 1926, a very old woman—blind and suffering from advanced diabetes—died in her chateau on the edge of the tiny village of Mesnil-Theribus, some thirty miles northwest of Paris.
A reminiscent tribute to a great American painter, with an evocative selection from thousands of unpublished sketches
Soon after Reginald Marsh’s death in 1954 an art magazine asked me to write about him. When I turned in the article the editor said he liked it but he had one reservation: “You say, ‘In my opinion he was the greatest artist of his time.’ Do you mean that?
Its venerable Museum of Fine Arts revives an era of forgotten beauty in a very proper Bohemia
Oscar Wilde, who had something clever to say on almost any subject, visited Boston about 1880, attended a debutante ball, and is supposed to have found the state of feminine beauty so low that he now understood why the city’s artists were reduced to “painting
The simple, affectionate water colors of an unassuming Scots immigrant, David J. Kennedy, bring back the Philadelphia of 1876 and our first great world’s fair
President Ulysses S. Grant opened the United States Centennial Exposition at Philadelphia on May 10, 1876.
Guess who’s having a revival—
I am one of those people who grew up, I am now aware, in a household that was completely bourgeois.
A “primitive-moderne” spoofs American art and history.
A new talent burst on the art world a few months ago, a talent which lies somewhere between Jackson Pollock and Gluyas Williams and within shouting distance of Maxfield Parrish. His name is simply Mr. Otis, and he comes from Portland. Oregon.
It is an interesting paradox that, of the two most famous paintings of Bunker Hill, the one that most suggests a real battle was painted by Pyle, the illustrator who lived long afterward, and not by John Trumbull, the painter who saw it (albeit from a distance) and served briefly in the Revolution (see AMERICAN HERITAGE , June, 1958).
The canvases of John Trumbull, sometime soldier, reluctant artist, have given us our visual image of the colonies’ struggle to be free
At the end of October, 1797, the year V of the French Revolution, a 41-year-old American artist named John Trumbull was stranded in Paris. The government was in peril and the capital was near chaos.
Itinerant primitive painters dressed up the farmers and the burghers as they hoped posterity would remember them
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