Art - Overview
The National Museum of American History is not an art museum. But works of art fill its collections and testify to the vital place of art in everyday American life. The ceramics collections hold hundreds of examples of American and European art glass and pottery. Fashion sketches, illustrations, and prints are part of the costume collections. Donations from ethnic and cultural communities include many homemade religious ornaments, paintings, and figures. The Harry T Peters "America on Stone" collection alone comprises some 1,700 color prints of scenes from the 1800s. The National Quilt Collection is art on fabric. And the tools of artists and artisans are part of the Museum's collections, too, in the form of printing plates, woodblock tools, photographic equipment, and potters' stamps, kilns, and wheels.
"Art - Overview" showing 237 items.
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The Last Moment of the Emperor Maximilian
- Description
- This relief print from The Magazine of Art dramatically illustrates the final moments before the execution of the Mexican Emperor Maximilian I in 1867. An Austrian noble by birth, Maximilian was installed by Napoleon III of France. French forces had invaded Mexico in 1862, after President Benito Juárez suspended payments on its foreign debt. Despite a major victory by Mexican forces at the Battle of Puebla on May 5, 1862, the French seized control of large sections of Mexico, including the capital. Maximilian was initially supported by Mexican conservatives in a backlash against the changes instituted by the Mexican War of Reform (1857–1861). However, once on the throne, his support of a free press, open universities, land reform, and other progressive ideas of the day proved to be out of step with his conservative constituency and the Catholic Church. Menaced by the government of the United States, victorious after its own civil war, and the rising success of Mexican nationalist forces, the French withdrew their military support of Maximilian, the last emperor of Mexico. This historic image is one of 45,000 artistic and commercials prints housed in the Graphic Arts Collection of the National Museum of American History.
- Location
- Currently not on view
- Date made
- ca 1890
- graphic artist
- Babbage, T.
- publisher
- Magazine of Art
- ID Number
- 1996.0197.350
- catalog number
- 1996.0197.350
- accession number
- 1996.0197
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Adiós Espalda Mojada
- Description
- For centuries in both Mexico and the United States, racism has organized society and regulated the work and aspirations of Europeans, Africans, Native peoples, and their mixed descendants. Though inhabiting segregated spaces, Mexican American communities expanded by the 1960s, stretching from the Yakima Valley of Washington to the Rio Grande Valley in Texas, and into the Midwest, particularly Chicago. The people living in these towns and cities represented a mix of multigenerational U.S. citizens, new residents, and temporary Mexican workers. While their experiences varied, all these communities were shaped by a legacy of discrimination in school, housing, and employment. Economic exploitation, in the form of race-based wages and substandard working conditions, particularly in fields, mines, and factories, were their daily realities. Despite the participation of Mexican American soldiers in all major U.S. conflicts since the Civil War, and the contribution of Mexican workers to the American agricultural and mining economy (and the vast economy of the West generally), the citizenship and human rights of their communities were contested and continue to be today. This lithograph, titled Goodbye Wetback, was designed by artist B. Barrios and printed by Lynton Kistler in 1951 in Los Angeles. It depicts a rural Mexican family confronting, with a mix of fear and stoicism, the racist encounter implied in the title. Kistler printed the work of many artists, some of whom specifically depicted Latino, Native American, and East Asian subjects. Over 2,700 of his prints are housed in the Graphic Arts Collection of the National Museum of American History.
- ADD MORE SUBJECTS LIKE LATINO, IMMIGRATION, PREJUDICE
- Location
- Currently not on view
- Date made
- 1951
- Associated Date
- 1951
- printer
- Kistler, Lynton R.
- graphic artist
- Barrios, B.
- ID Number
- 1978.0650.0968
- accession number
- 1978.0650
- catalog number
- 1978.0650.0968
- 78.0650.0968
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Mexican Boy
- Description
- This lithograph of a boy at work was designed in the late 1930s by the Mexican American artist Ramón Contreras (1919-1940). Mexican-born, he grew up in San Bernardino, a major agricultural town east of Los Angeles. His career was tragically short. Before he died of cancer at the age of 21, Contreras became the youngest artist ever invited to the Golden Gate International Exposition, and traveled to Mexico to meet the famed muralist Diego Rivera. Contreras came of age during the Great Depression (1930s), a period of economic crisis for all Americans and for people around the globe. Much of the art produced during these difficult years reflects a political and aesthetic vision–to document and ennoble the lives of ordinary working people. Here, Contreras presents us with an idealized image of a confident young man in motion. Identifiably Mexican with his serape draped over one shoulder, the boy drawn by Contreras triumphantly at the center of the frame is perhaps a fruit vendor. He is probably not a fruit picker–note the non-Californian bananas arrayed with other warm-weather fruits in his basket. This lithograph was printed in about 1950 by Lynton Kistler–it is one of the 2,700 prints by this prominent Los Angeles printer that are housed in the Graphic Arts Collection of the National Museum of American History.
- Location
- Currently not on view
- Date made
- ca 1950
- graphic artist
- Kistler, Lynton R.
- original artist
- Contreras, Ramon
- ID Number
- 1978.0650.1130
- accession number
- 1978.0650
- catalog number
- 1978.0650.1130
- 78.0650.1130
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Work and Rest
- Description
- The Graphic Arts Collection of the National Museum of American History houses an extensive series of prints by archeologist and artist Jean Charlot (1898–1979), and prominent Los Angeles printer Lynton Kistler (1897–1993). Charlot, the French-born artist of this print, spent his early career during the 1920s in Mexico City. As an assistant to the socialist painter Diego Rivera, he studied muralism, a Mexican artistic movement that was revived throughout Latino communities in the United States in the 1960s and 1970s. This lithograph, titled Work and Rest contrasts the labor of an indigenous woman, grinding corn on a metate, with the slumber of her baby. Printed by Lynton Kistler in Los Angeles in 1956, it presents an image of a Mexican woman living outside the industrial age. This notion of "Old Mexico" unblemished by modernity appealed to many artists concerned in the early 20th century with the mechanization and materialism of American culture. It was also a vision that was packaged as an exotic getaway for many American tourists. It is worth contrasting the quaint appeal of an indigenous woman laboring over her tortillas with the actual industrialization of the tortilla industry. By 1956, this woman would likely have bought her tortillas in small stacks from the local tortillería, saving about six hours of processing, grinding, and cooking tortilla flour.
- Location
- Currently not on view
- Date made
- 1956
- graphic artist
- Charlot, Jean
- printer
- Kistler, Lynton R.
- ID Number
- GA*23355.05
- catalog number
- 23355.05
- accession number
- 299563
- Data Source
- National Museum of American History, Kenneth E. Behring Center
La Malinche
- Description
- La Malinche, the title of this lithograph, was the indigenous woman who translated for Cortés between Maya, Náhuatl, and Spanish during his first years in Mexico. Considered either as a traitor or a founding mother by some Mexicans, La Malinche was Cortés's lover and the mother of his favorite son Martín. She and Moctezuma are also central figures in the Matachines dances that are performed in Mexico and New Mexico. Originally commemorating the expulsion of the Moors from southern Spain in 1492, the dance was brought to Mexico where it was treated as a means for Christianizing native peoples. The historical figure of La Malinche, known in Spanish by the name Doña Marina, is also credited for playing an almost miraculous role in the early evangelization of central Mexico. This print, made by Jean Charlot in the 1933, shows a young girl in the role of La Malinche, holding a rattle or toy in one hand, and a sword in the other. Jean Charlot, a French-born artist, lived and studied in Mexico in the 1920s and 1930s. He depicted stylized scenes from the daily life of Mexican workers, particularly indigenous women.
- Location
- Currently not on view
- Date made
- 1933
- graphic artist
- Charlot, Jean
- ID Number
- GA*23401
- catalog number
- 23401
- accession number
- 299563
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Engraved woodblock of a "Zuni eating bowl"
- Description
- This engraved woodblock of a “Zuni eating bowl” was prepared by the Government Printing Office in Washington, D.C.; the print was published in 1883 as Figure 425 (p. 357) in an article by James Stevenson (1840-1888) entitled “Illustrated Catalogue of the Collections Obtained from the Indians of New Mexico and Arizona in 1879” in the Second Annual Report of the Bureau of American Ethnology to the Secretary of the Smithsonian, 1880-81.
- Location
- Currently not on view
- date made
- 1883
- publisher
- Bureau of American Ethnology
- printer
- Government Printing Office
- author
- Stevenson, James
- ID Number
- 1980.0219.0032
- accession number
- 1980.0219
- catalog number
- 1980.0219.0032
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Engraved woodblock of a "Zuni eating bowl"
- Description
- This engraved woodblock of a “Zuni eating bowl” was prepared by the Government Printing Office in Washington, D.C.; the print was published in 1883 as Figure 427 (p.357) in an article by James Stevenson (1840-1888) entitled “Illustrated Catalogue of the Collections Obtained from the Indians of New Mexico and Arizona in 1879” in the Second Annual Report of the Bureau of Ethnology to the Secretary of the Smithsonian, 1880-81.
- Location
- Currently not on view
- date made
- 1883
- publisher
- Bureau of American Ethnology
- printer
- Government Printing Office
- author
- Stevenson, James
- ID Number
- 1980.0219.0038
- accession number
- 1980.0219
- catalog number
- 1980.0219.0038
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Engraved woodblock titled "Shell Gorget - The Cross"
- Description
- This engraved woodblock of “Shell Gorgets – the Cross” was prepared by the Government Printing Office in Washington, D.C.; the print was published in 1883 as Plate LI.1 (p.268) in an article by William H. Holmes (1846-1933) entitled “Art in Shell of the Ancient Americans” in the Second Annual Report of the Bureau of Ethnology to the Secretary of the Smithsonian, 1880-81.
- A gorget is a piece of shell that has been engraved and perforated so that it can be worn as a pendant; in this case, it has been engraved with a cross insignia. The caption beneath the image reveals that the gorget was found in Union County, Illinois.
- In a footnote to his article, Holmes identifies “Kate C. Osgood” as an accompanying artist on his collecting expedition.
- Location
- Currently not on view
- date made
- 1883
- printer
- Government Printing Office
- publisher
- Bureau of American Ethnology
- author
- Holmes, William Henry
- ID Number
- 1980.0219.0080
- catalog number
- 1980.0219.0080
- accession number
- 1980.0219
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Engraved woodblock of a "House-burial"
- Description
- This engraved woodblock of a “House-burial” was prepared by Henry Hobart Nichols (1838-1887); the print was published by the Government Printing Office in Washington, D.C. in 1881 as Figure 27 (p. 175) in an article by Dr. H. C. Yarrow (1840-1929) entitled “Mortuary Customs of the North American Indians” in the First Annual Report of the Bureau of Ethnology to the Secretary of the Smithsonian, 1879-80.
- Location
- Currently not on view
- date made
- 1881
- printer
- Government Printing Office
- publisher
- Bureau of American Ethnology
- graphic artist
- Nichols, H. H.
- author
- Yarrow, Harry Crecy
- ID Number
- 1980.0219.0084
- catalog number
- 1980.0219.0084
- accession number
- 1980.0219
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Engraved woodblock of a "Handled cup, province of Tusayan"
- Description
- This engraved woodblock of a “Handled cup, Province of Tusayan” was prepared by the Government Printing Office in Washington, D.C.; the print was published in 1886 as 298 (p.327) in an article by William H. Holmes (1846-1933) entitled “Pottery of the Ancient Pueblos” in the Fourth Annual Report of the Bureau of Ethnology to the Secretary of the Smithsonian, 1882-83.
- Location
- Currently not on view
- date made
- 1886
- publisher
- Bureau of American Ethnology
- printer
- Government Printing Office
- author
- Holmes, William Henry
- ID Number
- 1980.0219.0152
- catalog number
- 1980.0219.0152
- accession number
- 1980.0219
- Data Source
- National Museum of American History, Kenneth E. Behring Center