The Metropolitan Museum of Art Bulletin, v. 37, no. 4

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J. S. COPLEY Mrs. Edward Green, about 1790 American drawing was restricted almost entirely to portraiture until well into the nineteenth century. Early patrons had little interest in art beyond the utilitarian purpose of preserving likenesses, preferably as fashionably as possible. Copley's pastel portraits are some of the finest works of American eighteenth-cen- was little known here, and he could have seen few examples in Boston before he left for Europe in 1773. His drawing of Mrs. Edward Green, dated 1765, was done at the beginning of his best period of work in this medium. Masterfully colored, particularly in its daring shades of blue, it represents Copley's rich Boston sitter as Europe early in life and was the first American artist to study in Paris. In contrast to Copley's rococo concern for color and luscious fabric, Vanderlyn's approach in his chalk drawing of Sarah Russell Church is contemplative and restrained. Like the French neoclassical artists he emulated, Vanderlyn opted for
JOHN VANDERLYN Sarah Russell Church, 1799 C. DE SAINT-MEMIN An Osage Warrior, about 1804 JAMES SHARPLES Albert Gallatin, about 1797 figure of calm grace in a classical landscape. Saint-Memin, a Frenchman, came to this country in 1793. With his estates confiscated during the revolutions in France and Haiti, he turned to his earlier training as a draftsman and earned a living in America drawing portraits-many nearly life-size-and engraving them. He prepared paper, using a physiognotrace, a device something like a pantograph that enabled him to trace his subjects' features. Neoclassical in its dignity and refinement, this small watercolor of an Osage warrior is unusual in execution. Adopting the stippling technique of miniature painting in most of the picture, Saint-Memin George Romney in England. He settled in Philadelphia, probably about the time he drew this pastel of Albert Gallatin, then leader of the Republican opposition in Congress and later Secretary of the Treasury under Jefferson and Madison. Gallatin, an aristocrat from Geneva, is skillfully portrayed against a deep blue background
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Page 11 and 12: n BERNARD ROMANS An Exact View of t
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Page 17 and 18: ASHER BROWN DURAND Ariadne, 1835 ED
Page 19 and 20: 3 There is simultaneously an enigma
Page 21 and 22: J. R. SMITH Shop and Warehouse of D
Page 23 and 24: JOHAN HENRICH OTTO Fraktur Motifs,
Page 25 and 26: D. W. KELLOGG & CO. Memorial Print,
Page 27 and 28: JOHN HILL after WALL The Palisades,
Page 29 and 30: .'"" / . JOHN E KENSETT Birch Tree,
Page 31 and 32: H. PAPPRILL after J. W HILL .. . --
Page 33 and 34: THOMAS NAST "Let Us Prey," 1871 EDW
Page 35 and 36: WILLIAM TROST RICHARDS Lake Squam f
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Page 39 and 40: WINSLOW HOMER Inside the Bar, Tynem
Page 41 and 42: THOMAS EAKINS The Gross Clinic, 187
Page 43 and 44: world liberated the body, Eakins's
Page 45 and 46: CHARLES ABEL CORWIN Portrait of Whi
Page 47 and 48: MARY CASSATT The Fitting, 1891 form
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Page 51 and 52: JOHN SINGER SARGENT The Escutcheon
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Page 55 and 56: HENRY MARSH Moth and Beetles, 1862

The Metropolitan Museum of Art Bulletin, v. 37, no. 4

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