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 119 items.
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Portrait of Andreas Vesalius
- Description
- Andreas Vesalius (1514–1564), an early European physician and professor of medicine, wrote an important treatise on the human body, published in 1543. He provided detailed illustrations that demonstrated muscle structure and other features of human anatomy, based on his work dissecting cadavers. Vesalius's work revolutionized the teaching of anatomy and remained influential for generations.
- In Vesalius's time, dissection was discouraged by religious and cultural forces that misunderstood its potential contributions to science. Edouard Hamman's 1849 painting, reproduced as a lithograph by Adolphe Mouilleron in the early 1850s, suggests Vesalius's conscientious struggle with religion as he pursed his anatomical studies through dissection. He stands beside a cadaver laid out on the table, and his dissecting tools are at hand. He is pictured as if paused in thought, looking at a crucifix on the wall to his right. A skull and several large books suggest his research materials.
- Lithography offered artists a medium for literally drawing on stone that was used for high-quality reproductive prints in 19th-century France. Mouilleron, an accomplished lithographer, was not only a superb draftsman, but it was said that in his hand the lithographic crayon took on the characteristics of color as used by painters. His larger prints, like this portrait of Vesalius, have rich tonal variations that convey the color values of the original painting in shades of black and white. Many American artists like Philadelphian Stephen J. Ferris (1835–1915), whose family donated this print to the Smithsonian, avidly collected and studied French prints of all periods.
- Location
- Currently not on view
- Date made
- ca 1850
- subject
- Vesalius, Andreas
- graphic artist
- Mouilleron, Adolphe
- original artist
- Hamman, Edouard Jean Conrad
- publisher
- Bertauts
- ID Number
- GA*15366
- catalog number
- 15366
- accession number
- 94830
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Print, Steamship General Meade of Boston
- Description
- Built by Pearse & Lockwood of Stockton-on-Tees, England, in August 1861, the blockade runner Bermuda (to be renamed General Meade) was chartered to Fraser, Trenholme & Co. The iron-hulled ship measured 211 feet long, 29 feet 7 inches wide, 21 feet 2 inches deep, and had a hold capacity of 893 tons. It had two engines making 135 hp and could reach speeds up to 10 knots with the help of its screw propeller. The Bermuda slipped safely thru the Northern blockade into Savannah, Georgia on September 18, 1861. During this trip it was bought by Henkel & Trenholme of Charleston, South Carolina. In February 1862 the Bermuda left Liverpool for the second time. On April 27, 1862 it was captured by U.S.S. Mercedita off the Bahamas. Sent to Philadelphia under a prize crew, the Bermuda was bought by the U.S. Navy Department for $120,000 in October 1862. Commissioned as U.S.S. Bermuda, it was given a three-gun battery and sent on blockade duty off Galveston, Texas. On August 14, 1863 it captured the British schooner Carmita, followed the next day by the British schooner Artist. On October 2, 1863 the schooner Florrie was seized, and on November 14, 1863 it recaptured a small American schooner off the Florida coast. At the end of the war in September 1865, the Bermuda was sold to Samuel C. Cook for $61,000. William F. Weld & Co. of Boston purchased it in 1868, renamed it General Meade and ran it between Boston, New York, Wilmington, North Carolina and Charleston, South Carolina under Capt. A.W. Sampson. The ship also occasionally ran to New Orleans and sometimes as far as Borneo. After the 1874 dissolution of the Weld firm, the General Meade was bought by F. Baker, one of the former partners. He sold it in 1878 to the Canadian Quebec & Gulf Ports SS Co. Renamed Bahamas, the steamer sailed out of Quebec in the summer, while during the winter it sailed from New York to the West Indies.
- On February 4, 1882, the Bahamas left San Juan with a full hold. At midnight on February 9 it was struck by a terrific hurricane. At 3:00 AM it was thrown on its beam ends; water poured into the engine room and extinguished the fires. The life-boats were lowered. The captain's boat with 20 people capsized, and all were lost. The other boat held 13 (11 crew and 2 passengers); three crew refused to leave the ship, which went down a few hours later. At 12:30 PM February 10, 1822 the surviving life-boat was sighted by the ship Glenmorag, and the survivors were brought to New York on February 15, 1882.
- Location
- Currently not on view
- date made
- Between 1848 and 1891
- maker
- William Endicott and Company
- ID Number
- 2005.0279.097
- catalog number
- 2005.0279.097
- accession number
- 2005.0279
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Print, Mischief vs. Atlanta, America's Cup, 1881
- Description
- This print is very similar to an 1884 watercolor by Frederick S. Cozzens entitled For the America's Cup, The Start showing the Mischief and the Atlanta in the Fifth America's Cup Race on November 11, 1881.
- The original painting depicts the start of the race between the Atlanta and the Mischief. The 1881 challenge was received from Captain Alexander Cuthbert, who had designed and built the centerboard sloop Atlanta for the Bay of Quinte Yacht Club owners in Belleville, Ontario. Atlanta was plagued by a lack of funds and sailed to New York via the Erie Canal and the Hudson River. Stripped of its spars, the yacht was heeled over as far as possible on the bilge to permit passage through the locks, which was bad for the hull's structural integrity.
- Mischief, an iron sloop owned by J. R. Busk of New York and designed by A. Cary Smith, was chosen to be the defender. Built by Harlan & Hollingsworth, it was deeper than most of its competition. It was nicknamed “The Iron Pot," because it was the second all-metal yacht built in the U.S.
- The first match race on November 9, 1881 was started off Manhattan; Mischief won by thirty-eight minutes. Cozzens pictured the start of the third and final race, which was held off Staten Island.
- One of the onlookers described the start of this race: "Just before the start, storm clouds began to gather over the hills and the Island and with such a threatening look that both yachts made preparations for a heavy squall; but with a splatter of rain this burst over and shaking out the reefs, both waited for the preparatory signal. Atlanta, having no windlass, was a long time in picking up its anchor and getting under way and when, at last, it stood toward the line, another light squall knocked the ship over so far that its lee-rail dipped and its sailing master was forced to take in the gaff top sail which had just been set. Both boats maneuvered a little bit at first, running down to the line and going about. Mischief crossed with a good headway and the Atlanta a little over a minute later." In the end, Mischief victoriously defended the America's cup challenge.
- Location
- Currently not on view
- date made
- 1882
- artist
- Cozzens, Frederic Schiller
- maker
- Caldwell Litho. Co.
- ID Number
- 2005.0279.098
- catalog number
- 2005.0279.098
- accession number
- 2006.0279
- Data Source
- National Museum of American History, Kenneth E. Behring Center
The Sea Nymphs' Cave
- Description
- Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater world. Romantic scenes picture devoted husbands with their contented, dutiful wives. In these prints, young women educated in reading, music, needlework, the arts, the language of flowers, basic math and science are subjugated to their family’s needs.
- These prints became popular as lithography was introduced to 19th Century Americans. As a new art form, it was affordable for the masses and provided a means to share visual information by crossing the barriers of race, class and language. Sentimental prints encouraged the artistic endeavors of schoolgirls and promoted the ambitions of amateur artists, while serving as both moral instruction and home or business decoration. They are a pictorial record of our romanticized past.
- This colored print is of a nude woman in knee deep water within a cave. The mouth of the cave and sky is visible behind her. Loose flowing fabric is attached to one arm. Fringed cloth held in both hands billows behind her shoulders. Gold bracelets are on either arm. The artist is unknown.
- Location
- Currently not on view
- date made
- n.d.
- maker
- unknown
- ID Number
- DL*60.2268
- catalog number
- 60.2268
- accession number
- 228146
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Toluca Market
- Description
- This scene of the Toluca market was depicted by Alan Crane in 1946. Housed in the Graphic Arts Collection of the National Museum of American History, it is one of a series of lithographs of Mexican landscapes and genre scenes he printed during the 1940s. The growth of the tourist industry, rebounding after WWII, created a market for images of an idyllic Mexico—peaceful, scenic, and premodern. The elements of everyday life shown here—the densely packed stands of the ceramics vendors, the pulquería (a cantina that serves pulque, the fermented juice of the maguey plant), and the traditional dress of the marketeers—were as foreign to the urbanized Mexican American youth in Los Angeles, El Paso, and San Antonio as they were to American tourists seeking a memento of "Old Mexico." The generations of youths who grew up in the 1930s, 1940s, and 1950s were fundamental in negotiating the language, aesthetics, and political vision that would constitute the contemporary culture of Mexican Americans. These young men and women, many of whom were war veterans as well as industrial and agricultural workers, created empowering images of Mexican Americans as they defined new roles for themselves as activists during the civil rights struggles of the 1950s, 1960s, and 1970s.
- Location
- Currently not on view
- Date made
- 1946
- graphic artist
- Crane, Alan
- ID Number
- GA*23825
- catalog number
- 23825
- accession number
- 306563
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Mariposas en Patyenaro
- Description
- With the lucrative growth of tourism in 20th century, stereotypical and processed images of Mexico have often been marketed to the American imagination. In them, "South of the Border" becomes a sunny pre-modern place of vacations, trinkets, and convenient lawlessness. But contrasting and complex images of Mexico have pervaded the American imagination since well before the Civil War. Mexico, itself defined by cultural and racial exchange, has historically represented a starkly different social order to most Americans. A country with cheap land and labor and bountiful mineral and agricultural resources offered economic opportunities to many Americans, from white financiers and mercenaries to black oil workers and baseball players. Mexico was also a refuge for many American artists, of Mexican descent or otherwise, who imagined Mexico in different ways. Some artists sought inspiration from its ancient history, and others came looking for a pristine and exotic landscape. This lithograph, titled Mariposas at Patyenaro was drawn by Alan Crane in 1943. It depicts the picturesque, butterfly-shaped nets of Mexican fisherman paddling their canoes on a lake. Alan Horton Crane (1901–1969) was a Brooklyn-born illustrator best known for his landscapes and genre scenes of life in Mexico and New England. Similar prints by Crane showing scenes of idyllic Mexico are housed in the Graphic Arts Collection of the National Museum of American History.
- Location
- Currently not on view
- Date made
- 1943
- maker
- Crane, Alan
- ID Number
- GA*23830
- catalog number
- 23830
- accession number
- 306563
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Night of the Dead
- Description
- Though anchored in local Roman Catholic traditions, many of the religious beliefs and symbols of Mexican Americans have roots in indigenous notions about the soul and our universe. Between October 31st and November 2nd, Día de los Muertos, or Day of the Dead, is celebrated with family, decorating home altars and visiting the graves of loved ones. A holiday with much regional and individual variation, it is traditionally an occasion to commemorate parents and grandparents with altars of marigolds, candles, alcohol, skeleton-shaped sweets, and other foods and personal objects favored by the dearly departed. Day of the Dead celebrations were reinvented across many Mexican American communities beginning in the 1970s, as the Chicano movement promoted and readapted Mexican cultural practices. Many artists since then have seized on the visual power of the altar as a conduit for personal and public memory. In the United States, Day of the Dead altars can be found interrogating life and critiquing politics in public places. Contemporary Day of the Dead celebrations have memorialized those who have died from AIDS, gang violence, the civil wars in Central America, and crossing the border. This lithograph, titled Night of the Dead, was originally drawn in ink by Alan Crane in 1958. Alan Horton Crane (1901–1969) was a Brooklyn-born illustrator best known for his landscapes and genre scenes of life in Mexico and New England. This image is part of a series of prints by Alan Crane housed in the Graphic Arts Collection of the National Museum of American History.
- Location
- Currently not on view
- Date made
- 1958
- maker
- Crane, Alan
- ID Number
- GA*23836
- catalog number
- 23836
- accession number
- 306563
- 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
Ladies Bathing
- Description
- Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater world. Romantic scenes picture devoted husbands with their contented, dutiful wives. In these prints, young women educated in reading, music, needlework, the arts, the language of flowers, basic math and science are subjugated to their family’s needs.
- These prints became popular as lithography was introduced to 19th Century Americans. As a new art form, it was affordable for the masses and provided a means to share visual information by crossing the barriers of race, class and language. Sentimental prints encouraged the artistic endeavors of schoolgirls and promoted the ambitions of amateur artists, while serving as both moral instruction and home or business decoration. They are a pictorial record of our romanticized past.
- This hand colored print is of nine ladies bathing in a natural outdoor scene. Two at the right are wearing simple dresses in blue and red; the rest are draped in flowing garments and in various poses and states of undress.
- This print was produced by the lithographic firm of Kelloggs & Comstock. In 1848, John Chenevard Comstock developed a partnership with E.B. and E.C. Kellogg. In 1850, Edmund Burke Kellogg left the firm, leaving his brother Elijah Chapman Kellogg and J.C. Comstock to run the lithography firm as Kellogg and Comstock. The short-lived partnership disbanded in 1851. It was not until 1855 that Edmund Burke Kellogg rejoined his brother E.C. Kellogg and continued the success of the family’s Lithography firm.
- Location
- Currently not on view
- date made
- 1852
- distributors
- Ensign, Thayer and Company
- maker
- Kelloggs & Comstock
- ID Number
- DL*60.2270
- catalog number
- 60.2270
- accession number
- 228146
- maker number
- 402
- Data Source
- National Museum of American History, Kenneth E. Behring Center