#
Art

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 3508 items.

Page 5 of 351

## Painting -

*Squared Lunes (Hippocrates Of Chios)*- Description
- The title of this painting refers to Hippocrates of Chios (5th century BC), one of the greatest geometers of antiquity. Classical Greek mathematicians were able to square convex polygons. That is, given a polygon, they could produce a square of equal area in a finite number of steps using only a compass and a straightedge. They were unable to square a circle. This painting is based on the earliest known squaring of a figure bounded by curves rather than straight lines. The mathematician Hippocrates squared a lune, a figure bounded by arcs of two circles with different radii. This achievement might seem more difficult than squaring a circle.

- Crockett Johnson's painting follows two annotated figures in Evans G. Valens's
*The Number of Things*(1964), pp. 103–104, a book in the artist’s mathematical library. The finished piece shows isosceles triangles T, and a second congruent triangle connected to it base to base to form a square. Also present in the painting are three lunes, two small and one large. The area of triangle T is equal to the sum of the areas of lunes A and B (see figures). The area of triangle T is also equal to the area of a lune composed of X, Y, and the area T-C. Furthermore, because triangle T is congruent to the triangle below it, triangle T is equal to the area of this lune. Thus, the area of the square is equal to the sum of the areas of the three lunes. In summary, Johnson pictorially represented a "squared" curvilinear region; that is, he successfully constructed a square with the same area as that of the region of three lunes bounded by curves.

- Crockett Johnson executed this painting in 4 tints and darker shades of purple upon a black background. The center triangle is the darkest shade of purple. As one moves outward, the colors grow lighter. This allows a dramatic distinction to be seen between the figure and the background, and thus puts a greater emphasis on the lunes.

- This oil painting on masonite is #68 in Crockett Johnson's series. Its date of completion is unknown and the work is unsigned. It is closely related to painting #67 (1979.1093.42).

- Location
- Currently not on view

- date made
- ca 1965

- referenced
- Hippocrates of Chios

- painter
- Johnson, Crockett

- ID Number
- 1979.1093.43

- accession number
- 1979.1093

- catalog number
- 1979.1093.43

- Data Source
- National Museum of American History, Kenneth E. Behring Center

## Painting -

*Cross Ratio in an Ellipse (Poncelet)*- Description
- From ancient times, mathematicians have studied conic sections, curves generated by the intersection of a cone and a plane. Such curves include the parabola, hyperbola, ellipse, and circle. Each of these curves may be considered as a projection of the circle. Nineteenth-century mathematicians were much interested in the properties of conics that were preserved under projection. They knew from the work of the ancient mathematician Pappus that the cross ratio of line segments created by two straight lines cutting the same pencil of lines was a constant (a pencil of lines is a set of lines emanating from a common point). In the drawing, which is Figure 5 from an article by Morris Kline in James R. Newman's
*The World of Mathematics*(1956), if line segment l’ crosses lines emanating from the point O at points A’, B’, C’, and D’; and line segment l croses the same lines at points A, B, C, and D, the cross ratio:

- (A’C’/C’B’) / (A’D’/D’B’) = (AC/BC) / (AD/DB), in other words it is independent of the cutting line. (see Crockett Johnson's painting
*Pencil of Ratios (Monge)*).

- The French mathematician Michel Chasles introduced a related result, which is the subject of this painting. He considered two points on a conic section (such as an ellipse) that were both linked to the same four other points on the conic. He found that lines crossing both pencils of rays had the same cross ratio. Moreover, a conic section could be characterized by its cross ratio. This opened up an entirely different way of describing conic sections. Crockett Johnson associated this painting with both Chasles and another French advocate of projective geometry, Victor Poncelet.

- The painting, in oil or acrylic on masonite, is #69 in the series. It has a dark gray or blue background and a black wooden frame. It shows a white ellipse, two points on the ellipse (on the left side of the painting), and two pencils of lines that produce the same cross ratio. The painting is not signed. It is inscribed on the back, in Crockett Johnson’s hand: CROSS RATIO IN AN ELLIPSE (PONCELET) (/) Crockett Johnson 1968. Compare #21 (1979.1093.15).

- Reference: Morris Kline in James R. Newman,
*The World of Mathematics*(1956), p. 634. This volume was in Crockett Johnson's library. The figure on this page is annotated.

- Location
- Currently not on view

- date made
- 1968

- referenced
- Poncelet, Jean-Victor

- painter
- Johnson, Crockett

- ID Number
- 1979.1093.44

- accession number
- 1979.1093

- catalog number
- 1979.1093.44

- Data Source
- National Museum of American History, Kenneth E. Behring Center

## Painting -

*Law of Motion (Galileo)*- Description
- Crockett Johnson based this painting on the discussion of motion along inclined planes by Galileo Galilee in his
*Dialogues Concerning Two New Sciences*(1638). Here Galileo showed that if from a fixed point straight lines be extended indefinitely downwards and a point be imagined to move along each line at a constant speed, all starting from the fixed point at the same time and moving with equal speeds, the locus of the moving points will be an expanding circle.

- This painting shows four superimposed circles in various shades of gray, white and black. These circles all have a common point at the center top, and differ in radius. They are shaded into several regions which are divided by lines originating at the common point. The work has an orange background and a black wooden frame. It is probably based on a drawing in E. G. Valens,
*The Attractive Universe*(1969). This volume is in Crockett Johnson's library, annotated on the page indicated.

- The painting is #71 in the series. It is signed: CJ70.

- References: Galileo Galilee,
*Dialog Concerning Two New Sciences, Third Day*(Figure 59 in the Dover edition).

- E. G. Valens,
*The Attractive Universe: Gravity and the Shape of Space*, Cleveland and New York: World Publishing Company, 1969, p. 135.

- Location
- Currently not on view

- date made
- 1970

- referenced
- Galilei, Galileo

- painter
- Johnson, Crockett

- ID Number
- 1979.1093.46

- catalog number
- 1979.1093.46

- accession number
- 1979.1093

- Data Source
- National Museum of American History, Kenneth E. Behring Center

## Painting -

*Rotated Triangle and Reflections*- Description
- Plane figures of the same size and shape can be moved about in several ways and preserve their size and form. Such congruent transformations, as they are called, are combinations of rotations about a point or a line, reflections about a line, or translations in which the figure moves about the plane but the directions of the sides is unchanged.

- This painting, which closely follows a diagram from a book by H. S. M. Coxeter, illustrates two properties of congruent transformations. First, a transformation in which only one point remains unchanged is a rotation. In the figure, the triangle PQR passes through a congruent transformation into the triangle PQ'R'. Suppose that the transformation consisted of a reflection. Then triangle PQR could be rotated about the line m to another triangle, PRR[1]. However, these two triangles have a line, and not simply a point, in common. Coxeter went on to argue that any congruent transformation can be constructed as the product of reflections, the number of which can be reduced to three.

- In the painting, as in the diagram, there are three congruent triangles. One light blue and gray triangle rotates into another light blue triangle above it to the right (the axis of rotation is perpendicular to the painting). The blue and blue-gray triangle is a rotation of the first triangle about the axis m, and a reflection of the other. The background is in two shades of gray, divided by this line of rotation.

- The painting is #73 in the series and signed: CJ70. It has a metal frame.

- Reference: H. S. M. Coxeter,
*The Real Projective Plane*, p. 153.

- Location
- Currently not on view

- date made
- 1970

- painter
- Johnson, Crockett

- ID Number
- 1979.1093.47

- catalog number
- 1979.1093.47

- accession number
- 1979.1093

- Data Source
- National Museum of American History, Kenneth E. Behring Center

## Painting -

*Nine-Point Circle*- Description
- Although 18th- and 19th-century mathematicians were much interested in analysis and algebra, they continued to explore geometrical constructions. In 1765, the eminent Swiss-born mathematician Leonhard Euler showed that nine points constructed from a triangle lie on a circle. This circle would come to be called the Feuerbach circle after Karl Wilhelm Feuerbach, a professor at the gymnasium in Erlangen, Germany. In 1822, he published a paper explaining and proving the theorem.

- It seems likely that the direct inspiration for this painting was a figure in H. S. M. Coxeter’s
*The Real Projective Plane*(1955). A diagram on p. 143 of this book shows a triangle with its respective nine points. In his copy of the book, Crockett Johnson connected the points himself, thereby completing the circle (see the annotated figure). In addition, Johnson also annotated a figure in Nathan A. Court’s*College Geometry*(1964 printing), p. 103. Crockett Johnson's painting does not directly imitate either drawing, but it is evident that he studied each figure in creating his own construction.

- The first three points of the nine-point circle are the midpoints of the sides of triangle QRP (points L, M, and N in the annotated drawing). The second three points are the bases of the altitudes of the triangle (points A, B, C). These altitudes meet at a point (S). The midpoints of the lines joining the vertices of the triangle to the intersection of the altitudes create the last three points that indicate the nine-point circle (L’, M’, N’).

- The segments of the triangle that are not part of the circle are colored in shades of blue and gray. Those segments that are part of the circle are white and various shades of pink and yellow. The painting has a background defined by two shades of gray.

- This oil painting on masonite, #75 in the series, dates from 1970, is signed in the upper left corner : CJ70. It is inscribed on the back: NINE-POINT CIRCLE (/) Crockett Johnson 1970. There is a metal frame.

- Location
- Currently not on view

- date made
- 1970

- painter
- Johnson, Crockett

- ID Number
- 1979.1093.49

- catalog number
- 1979.1093.49

- accession number
- 1979.1093

- Data Source
- National Museum of American History, Kenneth E. Behring Center

## Painting -

*Law of Orbiting Velocity (Kepler)*- Description
- This piece is a further example of Crockett Johnson's exploration of Kepler’s first two laws of planetary motion. The ellipse represents the path of a planet, and the white sections represent equal areas swept out in equal times. This work, a silk screen inked on paper board, is signed: CJ66. It is #76 in the series, and it echoes painting #22 (1979.1093.16) and painting #99 (1979.1093.66).

- Location
- Currently not on view

- date made
- 1966

- referenced
- Kepler, Johannes

- painter
- Johnson, Crockett

- ID Number
- 1979.1093.50

- catalog number
- 1979.1093.50

- accession number
- 1979.1093

- Data Source
- National Museum of American History, Kenneth E. Behring Center

## Painting -

*Numbers in a Spiral*- Description
- Some of Crockett Johnson's paintings reflect relatively recent research. Mathematicians had long been interested in the distribution of prime numbers. At a meeting in the early 1960s, physicist Stanislaw Ulam of the Los Alamos Scientific Laboratory in New Mexico passed the time by jotting down numbers in grid. One was at the center, the digits from 2 to 9 around it to form a square, the digits from 10 to 25 around this, and the spiral continued outward.

- Circling the prime numbers, Ulam was surprised to discover that they tended to lie on lines. He and several colleagues programmed the MANIAC computer to compute and plot a much larger number spiral, and published the result in the
*American Mathematical Monthly*in 1964. News of the event also created sufficient stir for*Scientific American*to feature their image on its March 1964 cover. Martin Gardner wrote a related column in that issue entitled “The Remarkable Lore of the Prime Numbers.”

- The painting is #77 in the series. It is unsigned and undated, and has a wooden frame painted white.

- Location
- Currently not on view

- date made
- ca 1965

- painter
- Johnson, Crockett

- ID Number
- 1979.1093.51

- catalog number
- 1979.1093.51

- accession number
- 1979.1093

- Data Source
- National Museum of American History, Kenneth E. Behring Center

## Painting -

*Parabolic Triangles (Archimedes)*- Description
- According to the classical Greek tradition, the quadrature or squaring of a figure is the construction, with the aid of only straight edge and compass, of a square equal in area to that of the figure. But finding the area bounded by curved surfaces was not an easy task. The parabola and other conic sections had been known for almost a century before Archimedes wrote a short treatise called
*Quadrature of the Parabola*in about 240 BC. This was the first demonstration of the area bounded by a conic section. In his proof, Archimedes first constructed a triangle whose sides consisted of two tangents of a parabola and the chord connecting the points of tangency. He then showed that the area under the parabola (shown in gray and black in the painting) is two thirds of the area of the triangle which circumscribes it. Once the area bounded by the tangent could be expressed in terms of the area of a triangle, it was easy to construct the corresponding square. Crockett Johnson’s painting follows two diagrams illustrating a discussion of Archimedes’s proof given by Heinrich Dorrie (Figure 54).

- This oil or acrylic painting on masonite is #78 in the series and is signed “CJ67” in the bottom left corner. It has a gray wooden frame. For a related painting, see #43 (1979.1093.31).

- References: Heinrich Dorrie, trans. David Antin,
*100 Great Problems of Elementary Mathematics: Their History and Solution*(1965), p. 239. This volume was in Crockett Johnson's library and the diagram in his copy is annotated.

- James R. Newman,
*The World of Mathematics*(1956), p. 105. This volume was in Crockett Johnson's library. The figure on this page (Figure 9) is annotated.

- Location
- Currently not on view

- date made
- 1967

- referenced
- Archimedes

- painter
- Johnson, Crockett

- ID Number
- 1979.1093.52

- catalog number
- 1979.1093.52

- accession number
- 1979.1093

- Data Source
- National Museum of American History, Kenneth E. Behring Center

## Painting -

*Duality (Pascal-Brianchon)*- Description
- As a 21-year-old student, the Frenchman Charles Jules Brianchon (1785–1864) discovered that in any hexagon circumscribed about a conic section (such as a circle), the three lines that join opposite diagonals meet in a single point. He also pointed out connections between his result and Pascal's theorem concerning the points of intersection of opposite sides of a hexagon inscribed in a conic section.

- In the painting, a hexagon (only the vertices are shown) is inscribed in a circle. Three diagonal lines (edges of the gray and black polygon) are collinear. The line in question is the line joining the points of intersection, white on one side and purple on the other. Crockett Johnson's painting closely resembles a diagram of A. S. Smogorzhevskii in which Brianchon's theorem is applied to a proof of Pascal's theorem.

- The painting on masonite is #81 in the series. It has a purple background and a black wooden frame. It is signed: CJ66.

- References: A. S. Smogorzhevskii,
*The Ruler in Geometrical Constructions*(1961), p. 37. This volume was in Crockett Johnson's library. The figure is not annotated.

- Carl Boyer and Uta Merzbach,
*A History of Mathematics*(1991), p. 534.

- Location
- Currently not on view

- date made
- 1966

- referenced
- Pascal, Blaise

- Brianchon, Charles Julien

- painter
- Johnson, Crockett

- ID Number
- 1979.1093.53

- catalog number
- 1979.1093.53

- accession number
- 1979.1093

- Data Source
- National Museum of American History, Kenneth E. Behring Center

## Painting -

*Doubled Cube (Newton)*- Description
- Two paintings in the Crockett Johnson collection concern the ancient problem of doubling the volume of a given cube, or the Problem of Delos. Crockett Johnson wrote of this problem: "Plutarch mentions it, crediting as his source a now lost version of the legend written by the third century BC Alexandrian Greek astronomer Eratosthenes, who first measured the size of the Earth. Suffering from plague, Athens sent a delegation to Delos, Apollo’s birthplace, to consult its oracle. The oracle’s instruction to the Athenians, to double the size of their cubical altar stone, presented an impossible problem . . . . It could not be done with the compass and an unmarked straightedge."

- (p. 99).

- Crockett Johnson's paintings follow a construction proposed by the eminent English mathematician Isaac Newton. As Lucasian professor of mathematics at Cambridge University, Newton was required to deposit copies of his lectures in the university library. In 1683, after he had taught a course in algebra for 11 years, he finally deposited the notes for it. After Newton left Cambridge in 1696, his successor, William Whiston, arranged to have the lectures published in a book with the short title
*Arithmetica Universalis*. Latin editions of the book appeared in 1707, 1722, 1732, and 1761; and English translations in 1720, 1728, and 1769.

- In an appendix to this book, Newton discussed ways of finding the roots of numbers through geometric constructions. One problem was that of finding two mean proportions between given numbers. One case of this problem gives the cube root of a number. [Suppose the numbers are a and b and the proportionals x and y. Then a / x = x / y = y /b). Squaring the first and last term, a² / x² = y² / b². But, from the first equation, one also has x = y² / b. By substitution, a² / x² = x / b, or x³ = a² b. If a is 1, x is the cube root of b, as desired.]

- Newton and Crockett Johnson represented the quantities involved as lengths of the sides of triangles. Newton’s figure is #99 in his
*Arithmetica Universalis*. Crockett Johnson's figure is differently lettered, and the mirror image of that of Newton.

- Following the artist's notation (figure 1979.3083.04.05), suppose AB = 1, bisect it at M, and construct an equilateral triangle MBX on MB. Draw AX and MX extended. Using a marked straightedge, construct line segment BZY, intersecting AX at Z and MX at Y in such a way that XY = AM = MB = 1/2. Then the distance BZ will have a length of one half the cube root of 2, that is to say the length of the side of a cube of side 1/2.

- A proof of Newton’s construction is given in Dorrie. Crockett Johnson's copy of a drawing in this volume is annotated. The duplication of the cube also was discussed in at least two other books in Crockett Johnson's library. One is a copy of the 1764 edition of an English translation of the
*Arithmetica Universalis*, which Crockett Johnson purchased in January of 1972. The second is W. W. Rouse Ball’s*Mathematical Recreations and Essays*, which also discusses Newton's solution.

- Crockett Johnson's painting emphasized doubled lines in the construction, building on the theme of the painting. His diagram for the painting is oriented differently from the painting itself.

- This oil painting on masonite is #85 in the series. It depicts overlapping blue, pink and gray circular segments in two adjacent rectangles. These rectangles are divided by various lines into gray and black sections. A lighter gray border goes around the edge. There is a metal and wooden frame. The painting is unsigned. For a mathematically related painting, see #56 (1979.1093.36).

- References: Crockett Johnson, "On the Mathematics of Geometry in My Abstract Paintings,"
*Leonardo*5 (1972): pp. 98–100. This specific painting is not discussed in the article.

- Heinrich Dorrie, trans. David Antin,
*100 Great Problems of Elementary Mathematics: Their History and Solution*(1965) p. 171. The figure on this page, figure 27, is annotated.

- Isaac Newton,
*Universal Arithmetick*, (1769), esp. pp. 486–87, figure 99. This volume was in Crockett Johnson's library. It is not annotated.

- W. W. Rouse Ball, rev. H. S. M. Coxeter,
*Mathematical Essays and Recreations*, (1962 printing), pp. 327–33. This is a slightly different construction. The volume was in Crockett Johnson's library.

- Isaac Newton,
*The Mathematical Works of Isaac Newton*, assembled by Derek T. Whiteside, vol. 2, (1967). This includes a reprint of the 1728 English translation of the*Arithmetica Universalis*.

- Location
- Currently not on view

- date made
- ca 1970

- referenced
- Newton, Isaac

- painter
- Johnson, Crockett

- ID Number
- 1979.1093.55

- catalog number
- 1979.1093.55

- accession number
- 1979.1093

- Data Source
- National Museum of American History, Kenneth E. Behring Center

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