Category:Paintings about the American Revolution
Pages in category "Paintings about the American Revolution"
The following 15 pages are in this category, out of 15 total, this list may not reflect recent changes (learn more).
The following 15 pages are in this category, out of 15 total, this list may not reflect recent changes (learn more).
1. Black Admiral – For the first African-American U. S. Navy admiral, see Samuel Gravely. Black Admiral is the name for a Revolutionary War-era U. S. painting of unknown provenance that appears to depict a black man in U. S. naval uniform. In 2006, it was revealed that this 18th-century painting was merely a white sailor overlaid in the mid-to-late 20th century with African features, the painting has often been featured in U. S. For example, the painting appears in Gary B, nashs book The Unknown American Revolution, where it is identified as Black Privateer, ca. 1780, with the caption, This black sailor very likely served on a privateer that took many enemy prizes, McBurney had purchased the painting from an art dealer in 1975 for $1,300, and before restoring it had it assessed for insurance purposes at $300,000. He hired Peter Williams, an art conservator, for the task, the restoration revealed that the sailor in the original painting was actually white, but had been painted over, probably sometime in the early 1970s. The alteration was probably intentionally fraudulent, according to Williams, because steps were taken to obscure the freshness of the changes. The paintings estimated market value has plummeted to $3,000, a Paintings Secret, by Erik Baard. Black Admiral Painting Found to Be a Fraud
2. The Death of Major Peirson, 6 January 1781 – The Death of Major Peirson,6 January 1781 is a 1783 large oil painting by John Singleton Copley. It depicts the death of Major Francis Peirson at the Battle of Jersey on 6 January 1781, the Battle of Jersey was the last French attempt to seize the island of Jersey, and one of the last battles with invading forces from a foreign nation in the British Isles. Approximately 1,000 French soldiers, commanded by de Rullecourt and they occupied St Helier early on the morning of 6 January. They captured the Lieutenant Governor of Jersey, Moses Corbet, in bed, although Corbet surrendered, Peirson, the 24-year-old commander of around 2,000 troops of the British garrison, refused to surrender. As Peirson organised a counter-attack, a French shot killed him, Lieutenant Philippe Dumaresq of the Jersey militia took command of the British forces, which comprised detachments of the 95th Regiment of Foot, 78th Highlanders, and Jersey Militia. The British forces quickly overwhelmed the French, most of whom surrendered, John Boydell, a successful engraver and publisher and Aldermen of the City of London, commissioned Copley to paint a large painting,251.5 centimetres by 365.8 centimetres. The scene looks towards the final French resistance in Royal Square, viewed along what is now Peirson Place, further British reinforcements are visible on the hill at the top left. The statue and some of the buildings depicted still stand, although Peirson was killed in the early stages of the battle, the painting shows Peirson being shot down leading the final charge, giving him a more heroic role and fate. To the left, his black servant Pompey avenges his master by shooting the sniper, Copley modeled the civilians fleeing to the right on his wife, family nurse and children. Peirson became a hero, and the painting drew crowds when it was first exhibited at 28 Haymarket in May 1784. The Tate Gallery purchased the painting in 1864, between 1989 and 2010, a copy appeared on the 10 Jersey pound note, and before that on the 1 pound note
3. Declaration of Independence (Trumbull) – It was based on a much smaller version of the same scene, presently held by the Yale University Art Gallery. Trumbull painted many of the figures in the picture from life, the oil-on-canvas work was commissioned in 1817, purchased in 1819, and placed in the rotunda in 1826. The painting is incorrectly described as the signing of the Declaration of Independence. The painting shows 42 of the 56 signers of the Declaration and he also depicted several participants in the debate who did not sign the document, including John Dickinson, who declined to sign. Trumbull also had no portrait of Benjamin Harrison V to work with, the Declaration was debated and signed over a period of time when membership in Congress changed, so the men in the painting had actually never all been in the same room at the same time. Thomas Jefferson seems to be stepping on John Adams foot in the painting, however, upon closer examination of the painting, it can be seen that their feet are merely close together. This part of the image was depicted on the two-dollar bill version. Key to figures, Four men seated on the far left,1, Seated at the table on the left,4. Benjamin Harrison Seated together to the right of Harrison and in front of the figures,6. George Clinton Five figures standing together on the left,9, arthur Middleton Three seated figures in the back between the two sets of standing figures,14. George Walton Set of three figures standing together in the back,23, george Clymer Ten figures seated,17. Francis Hopkinson Five figures standing in front,30, Benjamin Franklin Four background figures seated together near the right corner of the room,35. Samuel Huntington Two figures standing in the corner of the room,39. Oliver Wolcott Two foreground figures at the table,42. John Hancock Three figures standing at right,43, edward Rutledge Two figures seated at far right,46. Its first use was on the side of the $100 National Bank Note issued in 1863. The depiction was engraved by Frederick Girsch of the American Bank Note Company, the same steel engraving was used on the 24¢ stamp issued as part of the 1869 pictorial series of definitive U. S. postage stamps. Trumbulls painting is depicted on the reverse of the two-dollar bill
4. The Sortie Made by the Garrison of Gibraltar – The Sortie Made by the Garrison of Gibraltar is the title of a 1789 oil-on-canvas painting by American artist John Trumbull. The painting shows a key point in Gibraltars history when the Great Siege of Gibraltar was undertaken by the Spanish against the British at Gibraltar in November 1781, the Spanish officer Don Jose de Barboza is being given respect as he lies dying. Although left behind by his own retreating troops he still unsuccessfully attacked the British troops with chivalry, the painting is based on a historic battle that took place in Gibraltar on November 27,1781. The Great Siege of Gibraltar was an attempt by Spain. The painting depicts the events of the night of November 26,1781 when British troops made a sudden attack, the death of the Spanish officer Don Jose de Barboza is the focal point of the painting. He fell mortally wounded and died near his post refusing assistance after having been abandoned by his troops and he is portrayed as rejecting the aid of General George Elliott, commander of the British troops. This had all the ingredients he sought, Furthermore, Trumbull had been engaged in a series of paintings based on the American Revolution, as the project progressed, Trumbulls ambitions for it to be his big breakthrough to major patronage grew too. He refused large offers for the picture, preferring to exhibit it privately for admission fees, horace Walpole, 4th Earl of Orford had called the painting, The painting is depicted on the back of the 2010 Gibraltar 10-pound note. The people highlighted in this composition are the dying José de Barboza and to his right and from left to right, Ensign A. Mackenzie, Governor Eliott, koehler, Lt. Col J. Hardy, Brig. Gen C. Ross, Capt A. Witham, Capt Roger Curtis, Lieutent Thomas Trigge, Gibraltars Finest Hour The Great Siege 1779-1783. 300 Years of British Gibraltar 1704-2004, Gibraltar, Peter-Tan Publishing Co. pp. 28–29
5. Surrender of General Burgoyne – The Surrender of General Burgoyne is an oil painting by John Trumbull. The painting was completed in 1821, and hangs in the rotunda of the United States Capitol in Washington, the painting depicts the surrender of British Lieutenant General John Burgoyne at Saratoga, New York on October 17,1777, ten days after the Second Battle of Saratoga. Artist John Trumbull spent the part of the American Revolutionary War as a soldier. After resigning from the army in 1777, he pursued a career as an artist, upon his return from Britain after the end of the War of 1812, he promoted this idea to the United States Congress. The price was set at $8,000 per painting, with the size, Trumbull spent the next eight years executing the commission, completing this painting in late 1821. It was first displayed in New York City from January to March 1822 and it has remained there ever since. Trumbull himself cleaned and varnished the painting in 1828, also effecting repairs to an area near Daniel Morgans foot and this painting depicts General John Burgoyne prepared to surrender his sword to General Horatio Gates. American officers gather at the sides to witness the event, their varied dress reflects their different units, in the center of the painting, and extending into the background, is Burgoynes army along with its German reinforcements. They were directed to the camp by American Colonel Lewis, Quartermaster-General, the scene suggests peace rather than combat or hostility, beneath blue sky and white clouds, officers wear their dress uniforms, weapons are sheathed or slung, and cannons stand silent. Trumbull created a smaller, substantially similar, version of the painting, the rotunda version was used as the basis for a commemorative stamp issued in 1994. This list is provided by Weir, p.69, the people depicted are listed approximately from left to right
6. Surrender of Lord Cornwallis – The Surrender of Lord Cornwallis is an oil painting by John Trumbull. The painting was completed in 1820, and hangs in the rotunda of the United States Capitol in Washington, included in the depiction are many leaders of the American troops that took part in the siege. Artist John Trumbull spent the part of the American Revolutionary War as a soldier. After resigning from the army in 1777, he pursued a career as an artist, in 1785 he began sketching out ideas for a series of large-scale paintings to commemorate the major events of the American Revolution. After spending a time in England, he returned to New York City in 1789, in 1791 he traveled to Yorktown, Virginia, where he sketched the landscape of the surrender site. Upon his return from Britain after the end of the War of 1812, the price was set at $8,000 per painting, with the size and subject matter to be determined by President James Madison. Trumbull spent the eight years executing the commission, completing this painting in 1820. It was displayed in New York City, Boston, and Baltimore before coming to Washington, D. C. and it has remained there ever since. Trumbull himself cleaned and varnished the painting in 1828, and it has been maintained since. In 1971, damage from a penny that was hard enough to pierce the canvas was repaired. All of the Rotunda paintings were most recently cleaned in 2008, the subject of this painting is the surrender of the British army at Yorktown, Virginia, in 1781, which ended the last major campaign of the Revolutionary War. The blue sky filled with clouds and the broken cannon suggest the battles that led to this event. In early September, entrenched with a force of 7,000 men, Cornwallis had hoped for rescue from the sea, within weeks General Washington had deployed a much larger army, and his artillery bombarded the British positions in early October. After American and French troops overran two British strongholds, Cornwallis surrendered on October 19, in the center of the scene, American General Benjamin Lincoln appears mounted on a white horse. He extends his hand toward the sword carried by the surrendering British officer, General Charles OHara. To the left, French officers appear standing and mounted beneath the banner of the royal Bourbon family. On the right are American officers beneath the Stars and Stripes, among them are the Marquis de Lafayette and Colonel Jonathan Trumbull, General George Washington, riding a brown horse, stayed in the background because Cornwallis himself was not present for the surrender. The Comte de Rochambeau is on the center on a brown horse
7. Washington at Princeton – Washington at Princeton is a painting by Charles Willson Peale. The original was commissioned by the Supreme Executive Council of Pennsylvania for its council chamber in Independence Hall in Philadelphia, Peale made eight copies of the painting. The original, now owned by the Pennsylvania Academy of the Fine Arts, was completed in early 1779, in January 2005, the painting sold for $21.3 million - setting a record for the highest price paid for an American portrait
8. Washington Crossing the Delaware – Washington Crossing the Delaware is an 1851 oil-on-canvas painting by the German American artist Emanuel Gottlieb Leutze. It commemorates General George Washingtons crossing of the Delaware River on the night of December 25–26,1776 and that action was the first move in a surprise attack against the Hessian forces at Trenton, New Jersey, in the Battle of Trenton on the morning of December 26. The original was part of the collection at the Kunsthalle in Bremen, Germany, Leutze painted two more versions, one of which is now in the Metropolitan Museum of Art in New York City. The other was in the West Wing reception area of the White House, german-born Emanuel Gottlieb Leutze grew up in America, then returned to Germany as an adult, where he conceived of the idea for this painting during the Revolutions of 1848. Just after it was completed, the first version was damaged by fire in his studio, subsequently restored, on September 5,1942, during World War II, it was destroyed in a bombing raid by the Allied forces. The second painting, a replica of the first, was begun in 1850. More than 50,000 people viewed it, the painting was originally bought by Marshall O. Roberts for $10,000. After changing ownership several times, it was donated to the Metropolitan Museum of Art by John Stewart Kennedy in 1897. The painting was lent at least twice in its history, in the early 1950s, it was part of an exhibition in Dallas, Texas. Then, beginning in 1952, it was exhibited for several years at the United Methodist Church in Washington Crossing, Pennsylvania, today, it is on exhibition at the Metropolitan Museum of Art. In January 2002, the painting was defaced when a former Metropolitan Museum of Art guard glued a picture of the September 11 attacks to it, no major damage was caused to the painting. The simple frame that had been with the painting for over 90 years turned out not to be the frame that Leutze designed. A photograph taken by Matthew Brady in 1864 was found in the New York Historical Society in 2007 showing the painting in a spectacular eagle crested frame, the 12’ x 21’ carved replica frame was created using this photo by Eli Wilner & Company in New York City. The carved eagle-topped crest alone is 14 wide, the painting is notable for its artistic composition. General Washington is emphasized by a bright sky, while his face catches the upcoming sun. The colors consist of dark tones, as is to be expected at dawn. Foreshortening, perspective and the distant boats all lend depth to the painting, also, General Edward Hand is shown seated and holding his hat within the vessel. The flag depicted is the flag of the United States
9. United States Capitol rotunda – The United States Capitol rotunda is the central rotunda of the United States Capitol in Washington, D. C. Located below the Capitol dome, it is the tallest part of the Capitol and has described as its symbolic. The rotunda is surrounded by corridors connecting the House of Representatives, to the south of the rotunda is the semi-circular National Statuary Hall, which until 1857 was the House of Representatives chamber. To the northeast of the rotunda is the Old Senate Chamber, used by the Senate until 1859 and by the Supreme Court of the United States until 1935. The rotunda is 96 feet in diameter and rises 48 feet to the top of its walls and 180 feet 3 inches to the canopy of the dome, the dome is surmounted by the American Statue of Freedom. It is also used for ceremonial events authorized by concurrent resolution, the doctor and architect William Thornton was the winner of the contest to design the Capitol in 1793. Thornton had first conceived the idea of a central rotunda, however, due to lack of funds or resources, oft-interrupted construction, and the British attack on Washington during the War of 1812, work on the rotunda did not begin until 1818. The rotunda was designed in the style and was intended to evoke the design of the Pantheon. The sandstone rotunda walls rise 48 feet above the floor, everything above this—the Capitol dome–was designed in 1854 by Thomas U, Walter, the fourth Architect of the Capitol. Walter had also designed the Capitols north and south extensions, in 1862, Walter asked painter Constantino Brumidi to design a picture 65 feet in diameter, painted in fresco, on the concave canopy over the eye of the New Dome of the U. S. Capitol. At this time, Brumidi may have added a watercolor canopy design over Walters tentative 1859 sketch, the dome was being finished in the middle of the American Civil War and was constructed from fireproof cast iron. During the Civil War, the rotunda was used as a hospital for Union soldiers. The dome was completed in 1866. Originally the crypt had an open ceiling into the rotunda, visitors can still see the holes in the stone circle that marked the rim of the open space in the rotunda floor. In January 2013, the Architect of the Capitol announced a four-year, $10 million project to repair and conserve the Capitol Domes exterior, the dome and rotunda, which were last conserved in 1960, are showing significant signs of rust and disrepair. There is a danger that decorative ironwork could fall from the rotunda to the space below, without immediate repair, safety netting will be installed. Eight niches in the rotunda hold large, framed historical paintings, all are oil-on-canvas and measure 12 by 18 feet. Four of these are scenes from the American Revolution, painted by John Trumbull and these are Declaration of Independence, Surrender of General Burgoyne, Surrender of Lord Cornwallis, and General George Washington Resigning his Commission