American Genre Painting & Still Life (Week 9)

Question 1

Answer 1

John Lewis Krimmel, Fourth of July in Center Square, Philadelphia, 1810-1812

city innovations, sanitation

different “types”

community gathering but not mixing

Question 2

Answer 2

John Lewis Krimmel, The Quilting Frolic, 1813

influenced by David Wilkie

quilt making as social gathering

middle class culture

idealized view of American life

Question 3

Answer 3

John Lewis Krimmel, The Blind Fiddler, 1814

distinctions between class

copied David Wilkie’s The Blind Violinist 1806

Question 4

Answer 4

John Lewis Krimmel, Election Day, 1815

underestimates national importance

no women/children

Question 5

Answer 5

John Lewis Krimmel, The Country Tavern, 1819

male environment

Question 6

Answer 6

William Sidney Mount, Bar-Room Scene, 1835

exclusion, emphasized by group, wall

black man as a type - red lips, gaping mouth

tension

distinction of race and class

Question 7

Answer 7

William Sidney Mount, Bargaining for a Horse, 1835

bargaining = political trade for benefits

gentlemen farmers, dont belong in setting

run down barn

Question 8

Answer 8

William Sidney Mount, Farmers Nooning, 1836

most complex

no sterotypical characterizations except for boy’s hat

multiple meanings

lazy

no tension

opposite bar room scene

Question 9

Answer 9

William Sidney Mount, The Painter’s Triumph, 1838

humorous, easy to read

addresses class

Question 10

Answer 10

William Sidney Mount, Cidar Making, 1841

rural life

election year, play on William Harrison’s campaign

mocking Whig party

Question 11

Answer 11

William Sidney Mount, Eel Spearing at Setauket, 1845

commissioned

ideal relationships

gender issues

woman taller and in control of boat

Question 12

Answer 12

William Sidney Mount, Dance of the Haymakers, 1845

exclusion

no identity, back faces viewer

lively, energetic

Question 13

Answer 13

William Sidney Mount, The Power of Music, 1847

exclusion

more somber compared to Dance of the Haymakers

Question 14

Answer 14

William Sidney Mount, Coming to a Point, 1854

gentleman farmers

no eye contact

Question 15

Answer 15

Francis Edmonds, The City and Country Beau, 1839

Question 16

Answer 16

Francis Edmonds, The New Bonnet, 1858

materialism

anecdotal narrative to instruct

Question 17

Answer 17

Francis Edmonds, The New Scholar, 1845

Question 18

Answer 18

George Caleb Bingham, Fur Traders Descending the Missouri, 1845

romanticized West

carefree

Question 19

Answer 19

George Caleb Bingham, Raftsmen Playing Cards, 1847-50

Question 20

Answer 20

George Caleb Bingham, Jolly Flatboatmen, 1846

tight construction, strong horizontals

river as source of life in the West

Question 21

Answer 21

George Caleb Bingham, The Wood Boat, 1855

Question 22

Answer 22

George Caleb Bingham, Jolly Flatboatmen in Port, 1857

Question 23

Answer 23

George Caleb Bingham, Verdict of the People, 1854-55

democracy

only landed white males can vote

Question 24

Answer 24

George Caleb Bingham, The Country Election, 1852

Question 25

Answer 25

Richard Caton Woodville, War News from Mexcio, 1848 only know reactions and expressions news/outcome unknown to viewer

Question 26

Answer 26

Charles Bird King, The Poor Artist's Cupboard, 1815 tromp l'oeil, detailed quirky objects plight of the artist

Question 27

Answer 27

James Peale, Still Life with Fruit, 1821 not all food grows in same season specific time

Question 28

Answer 28

Sarah Miriam Peale, Fruit and Wine, 1825

Question 29

Answer 29

Raphaelle Peale, Blackberries, 1812 dark manner to still lifes unripe fruit still on the stem depressed

Question 30

Answer 30

Raphaelle Peale, Cutlet and Vegetables, 1816 toothpicks - medical dissection violent unconventional still lifes

Question 31

Answer 31

Raphaelle Peale, Still Life with Steak, 1817 arrangement of food read violent bone broken carrot sticking through meat

Question 32

Answer 32

Raphaelle Peale, Melons and Morning Glories, 1813 cracked open not cut 3 dimensionality, detail juice on table

Question 33

Answer 33

Raphaelle Peale, Still Life with Watermelon, 1822 knife coming out at viewer strange observation specific

Question 34

Answer 34

Raphaelle Peale, Apples and Fox Grapes, 1815 bruised, decaying fruit self portrait?

Question 35

Answer 35

Raphaelle Peale, Venus Rising from the Sea - a Deception (After the Bath), 1823 nudity not accepted, disapproved by Charles Willson Peale (father) deception appeasement towards father