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- "Battle Scenes of the Rebellion" Battle of Chattanooga, Civil War Panorama - In the 1880s, Thomas Clarkson Gordon, a self-taught artist and Civil War veteran, created a panorama depicting scenes from the Civil War. Gordon stitched together 15 paintings -- each 7 by 14 feet -- into a canvas roll more than 100 feet long. He toured his multi-paneled panorama throughout eastern Indiana, retelling the history of the conflict through his vivid illustrations.
- 1863
- Collections - Artifact
"Battle Scenes of the Rebellion" Battle of Chattanooga, Civil War Panorama
In the 1880s, Thomas Clarkson Gordon, a self-taught artist and Civil War veteran, created a panorama depicting scenes from the Civil War. Gordon stitched together 15 paintings -- each 7 by 14 feet -- into a canvas roll more than 100 feet long. He toured his multi-paneled panorama throughout eastern Indiana, retelling the history of the conflict through his vivid illustrations.
- Oil Painting, Fort Ticonderoga by George Washington Mark, circa 1845 - George Washington Mark was a successful house, sign, and furniture painter in Greenfield, Massachusetts, in the early 1800s. Sometime in the 1830s and 40s, he tried his hand at more artistic endeavors creating paintings of local interest -- generally landscapes and historic subjects. Around 1845, Mark painted this work depicting the ruins of New York's historic Fort Ticonderoga.
- circa 1845
- Collections - Artifact
Oil Painting, Fort Ticonderoga by George Washington Mark, circa 1845
George Washington Mark was a successful house, sign, and furniture painter in Greenfield, Massachusetts, in the early 1800s. Sometime in the 1830s and 40s, he tried his hand at more artistic endeavors creating paintings of local interest -- generally landscapes and historic subjects. Around 1845, Mark painted this work depicting the ruins of New York's historic Fort Ticonderoga.
- Catalog, "American Art Collections by the Detroit Publishing Co.," 1918 -
- 1918
- Collections - Artifact
Catalog, "American Art Collections by the Detroit Publishing Co.," 1918
- "A Collection of Ancient Paintings, Objects of Art and Modern Paintings," 1925 -
- 1925
- Collections - Artifact
"A Collection of Ancient Paintings, Objects of Art and Modern Paintings," 1925
- Oil Portrait of Edsel Ford by Diego Rivera, 1932 - Partway through work on his <em>Detroit Industry</em> murals at the Detroit Institute of Arts, Diego Rivera took a break to paint a portrait of the frescoes' primary sponsor, Edsel Ford. Rather than posing Ford in his office, Rivera chose a more appropriate setting: an automotive design studio. The portrait depicts Ford as strong and confident in his preferred environment.
- 1932
- Collections - Artifact
Oil Portrait of Edsel Ford by Diego Rivera, 1932
Partway through work on his Detroit Industry murals at the Detroit Institute of Arts, Diego Rivera took a break to paint a portrait of the frescoes' primary sponsor, Edsel Ford. Rather than posing Ford in his office, Rivera chose a more appropriate setting: an automotive design studio. The portrait depicts Ford as strong and confident in his preferred environment.
- Oil Painting, "Fun On the Fourth" by Tompkins H. Matteson, 1840-1850 -
- 1840-1850
- Collections - Artifact
Oil Painting, "Fun On the Fourth" by Tompkins H. Matteson, 1840-1850
- "View near Anthony's Nose, Hudson Highlands," by Thomas Chambers, 1840-1850 -
- 1840-1850
- Collections - Artifact
"View near Anthony's Nose, Hudson Highlands," by Thomas Chambers, 1840-1850
- Pastel Painting, "Rochester Union Academy," by M. Perkins, 1840-1850 -
- 1840-1850
- Collections - Artifact
Pastel Painting, "Rochester Union Academy," by M. Perkins, 1840-1850
- Letter from Samuel Finley Breese Morse to Stephen Van Rensselaer, 1834 -
- September 22, 1834
- Collections - Artifact
Letter from Samuel Finley Breese Morse to Stephen Van Rensselaer, 1834
- Letter from John Trumbull to Samuel M. Hopkins, June 1, 1818 - John Trumbull worked tirelessly on his painting <em>Declaration of Independence</em> throughout 1818. The painting was one of four Revolutionary-era scenes commissioned by the U.S. Congress for the Capitol. In this letter to Samuel Hopkins, Trumbull apologized for his inattention to business matters and the failure to visit. Trumbull explained that his drive to complete his "picture of Independence" is "heavy work."
- June 01, 1818
- Collections - Artifact
Letter from John Trumbull to Samuel M. Hopkins, June 1, 1818
John Trumbull worked tirelessly on his painting Declaration of Independence throughout 1818. The painting was one of four Revolutionary-era scenes commissioned by the U.S. Congress for the Capitol. In this letter to Samuel Hopkins, Trumbull apologized for his inattention to business matters and the failure to visit. Trumbull explained that his drive to complete his "picture of Independence" is "heavy work."