Encyclopedia Virginia: Visual Arts http://www.encyclopediavirginia.org http://www.encyclopediavirginia.org/img/EV_Logo_sm.gif Encyclopedia Virginia This is the url http://www.encyclopediavirginia.org The first and ultimate online reference work about the Commonwealth /Clark_Adèle_1882-1983 Thu, 01 Aug 2019 17:11:51 EST Clark, Adèle (1882–1983) http://www.encyclopediavirginia.org/Clark_Adèle_1882-1983 Adèle Clark was a founding member of the Equal Suffrage League of Virginia, the chair of the Virginia League of Women Voters (1921–1925, 1929–1944), the social director of women at the College of William and Mary (1926), a New Deal–era field worker, and an accomplished artist and arts advocate. A native of Alabama, Clark attended schools in Richmond and later studied art in New York. She taught art in Richmond and established a training studio, while also working as a political activist. In 1909, she helped to found the Equal Suffrage League of Virginia and when women won the right to vote in 1920, she worked to educate women voters and to influence Congress and the General Assembly on issues of special interest to women. During the Great Depression, she served as the state director of the Federal Art Project (1936–1942). In her later years, Clark spoke for the desegregation of public schools and against the poll tax. She opposed the proposed Equal Rights Amendment in 1973. Clark died in Richmond in 1983.
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/Ezekiel_Moses_Jacob_1844-1917 Fri, 10 Aug 2018 14:40:14 EST <![CDATA[Ezekiel, Moses Jacob (1844–1917)]]> http://www.encyclopediavirginia.org/Ezekiel_Moses_Jacob_1844-1917 Moses Jacob Ezekiel was one of the most celebrated sculptors of his day, his works appearing in civic spaces, art museums, and universities across the world. Born in Richmond to a family of Spanish-Jewish origin, Ezekiel was the first Jewish cadet to attend the Virginia Military Institute, and he fought at the Battle of New Market (1864) during the American Civil War (1861–1865). He later considered a career in medicine but studied sculpture instead. In 1869 Ezekiel relocated to Berlin and won admittance to the royal academy there; four years later he became the first non-German to win the school's prestigious art competition. For the rest of his life, working out of a studio in Rome, Ezekiel created sculpture, often by commission and for public display. He generally modeled in clay and either sculpted from marble or cast in bronze, creating heroic lifelike portraits that meditated on such themes as religion, religious freedom, and patriotism for both the United States and the Confederacy. He fashioned a bronze of Thomas Jefferson for the city of Louisville, Kentucky, that was replicated for the University of Virginia. He also created a memorial to his fellow cadets who fought at New Market as well as a memorial to the Confederate soldiers buried at Arlington National Cemetery. Ezekiel was buried beneath it after his death in 1917.
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/Slave_Trade_Eyre_Crowe_s_Images_of_the Thu, 29 Jun 2017 11:17:22 EST <![CDATA[Slave Trade, Eyre Crowe's Images of the]]> http://www.encyclopediavirginia.org/Slave_Trade_Eyre_Crowe_s_Images_of_the English painter Eyre Crowe's images of the American slave trade include a series of sketches later published as wood engravings and, in two instances, turned into oil paintings that depict the domestic trade in enslaved African Americans just before the American Civil War (1861–1865). These images provide some of the only eyewitness visual renderings of the slave trade in Richmond, the largest slave-trading center in the Upper South. An act of Congress had abolished the international slave trade in the United States effective 1808, but a domestic trade accounted for the sale of millions of slaves from the Upper South to the Deep South, where the cotton boom led to a near-bottomless market for enslaved labor. The process of trafficking slaves, which Crowe's images helped to illuminate and publicize, included auction houses, auction blocks, so-called slave jails, and transportation either on foot or by train. Crowe was visiting Richmond in 1853 as the secretary of British novelist William Makepeace Thackeray, who was on a lecture tour, when he witnessed and sketched a slave auction on Wall Street, down the hill from downtown Richmond. His sketching nearly caused him to be removed from the auction house. Later, he also witnessed and depicted slaves being taken to a railroad depot. Two paintings made from his sketches, After the Sale: Slaves Going South from Richmond and Slaves Waiting for Sale, Richmond, Virginia, were exhibited in Great Britain in 1854 and 1861 respectively. Together with Crowe's other images, these paintings played an important role in spreading antislavery awareness in both Britain and in America.
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/Biggs_Walter_J_1886-1968 Wed, 07 Sep 2016 15:07:58 EST <![CDATA[Biggs, Walter J. (1886–1968)]]> http://www.encyclopediavirginia.org/Biggs_Walter_J_1886-1968 Walter J. Biggs enjoyed success as a popular illustrator for most of his career, and then became an accomplished painter later in life. Growing up in Salem, he attended the New York School of Art (later Parsons The New School for Design) early in the 1900s. His romantic, impressionistic-style works soon began appearing on the covers of major magazines of the period, as well as in books. Biggs won praise for his renderings of the American South, particularly for sympathetic portrayals of African American life. He started working with watercolors in the 1940s, developing a national reputation with competition prizes and exhibitions in New York, Chicago, and Philadelphia. He returned to Salem permanently after retiring as an illustrator late in the 1950s. In 1963 he was inducted into the Society of Illustrators' Hall of Fame and died five years later in Roanoke. In 1986 Roanoke College, which owns a large collection of Biggs's paintings and sketchbooks, dedicated the Walter Biggs Studio in the Olin Hall Student Art Center.
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/Cootes_Frank_G_1879-1960 Wed, 24 Aug 2016 15:55:17 EST <![CDATA[Cootes, F. Graham (1879–1960)]]> http://www.encyclopediavirginia.org/Cootes_Frank_G_1879-1960 F. Graham Cootes was a popular illustrator and portraitist during in the twentieth century. Born in Staunton and educated at the University of Virginia, he entered the New York School of Art (later Parsons The New School for Design) in 1902. Cootes opened a Manhattan studio by 1906 and gained success as an illustrator for best-selling books and high-profile magazines. Cootes also established himself as a respected portraitist of prominent figures in New York and Washington, D.C. He semi-retired during the 1920s only to reemerge the following decade after he and his wife lost much of their wealth in the stock market crash. During this second period he produced his most famous work, the official White House portrait of Woodrow Wilson. Cootes kept his connections with his native state, painting portraits of Charlottesville residents, hosting summer art school programs at the University of Virginia, and visiting the Old Dominion often.
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/Lee_Mary_Anna_Randolph_Custis_1807-1873 Thu, 19 Nov 2015 10:30:05 EST <![CDATA[Lee, Mary Randolph Custis (1807–1873)]]> http://www.encyclopediavirginia.org/Lee_Mary_Anna_Randolph_Custis_1807-1873 Mary Randolph Custis Lee was an artist, author, and early antislavery activist. The great-granddaughter of Martha Washington, she enjoyed virtually unequalled social status throughout her life. Tutored in history and philosophy, she became acquainted with the early republic's leaders, who visited her father's estate, Arlington. Following her mother's lead, she fought slavery, and helped to ease the lives of her own family's slaves. Her uncle's death in 1830 prompted a religious awakening, and marriage the next year to Robert E. Lee put her in the position of being an army wife, a somewhat uncomfortable role for someone of her background. She followed her husband to his various outposts, sketching her travels and becoming an artist of some note. While her connection to Lee did not immediately augment her social standing, when he led the Army of Northern Virginia during the American Civil War (1861–1865), she was accorded further deference. Mary Custis Lee had not supported secession, but she was a devoted Confederate, her grace under pressure making her a symbol of quiet strength in wartime Richmond. At the end of her life, she was embittered by the Union occupation of her beloved Arlington and felt betrayed by her family's former slaves. She died in 1873.
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/Carpenter_Miles_Burkholder_1889-1985 Mon, 02 Nov 2015 09:44:24 EST <![CDATA[Carpenter, Miles B. (1889–1985)]]> http://www.encyclopediavirginia.org/Carpenter_Miles_Burkholder_1889-1985 Miles B. Carpenter was a prominent twentieth-century folk artist. In 1912 Carpenter purchased a factory in the Sussex County town of Waverly, which he turned into a lumber mill. He later added a sawmill and ice business to his enterprise. Carpenter began woodcarving in 1941 but had little time to spend on his work until he closed his lumber mill in the 1950s. The artist began sculpting animals and then people, utilizing both whittling and assemblage. By the 1970s Carpenter's work drew the attention of collectors, and he began exhibiting his works in one-man shows. His autobiography Cutting the Mustard was published in 1982.
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/Photography_During_the_Civil_War Tue, 27 Oct 2015 15:24:49 EST <![CDATA[Photography during the Civil War]]> http://www.encyclopediavirginia.org/Photography_During_the_Civil_War During the course of the American Civil War (1861–1865), more than 3,000 individual photographers made war-related images. From Southerners' first pictures of Fort Sumter in April 1861 to Alexander Gardner's images of Richmond's ruined cityscape in April 1865, photographers covered nearly every major theater of military operations. They documented battlefields, soldiers' activities and movements, and the destructive effects the conflict had on civilians. Virginia and Virginians figured prominently in Civil War–era photography. Brothers Daniel and David Bendann, who began their careers in Richmond, for example, photographed noted Confederates, including Robert E. Lee, while scores of wartime images featured Virginia landmarks and landscapes.
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/White_John_d_1593 Thu, 04 Dec 2014 17:14:26 EST <![CDATA[White, John (d. 1593)]]> http://www.encyclopediavirginia.org/White_John_d_1593 John White was an English artist who in 1585 accompanied a failed colonizing expedition to Roanoke Island in present-day North Carolina and who, in 1587, served as governor of a second failed expedition, which came to be known as the Lost Colony. As an artist attached to the first group of colonists, White produced watercolor portraits of Virginia Indians and scenes of their lives and activities. He rendered the local flora and fauna and, using the English polymath Thomas Hariot as a surveyor, created detailed maps of the North American coastline. He also joined Hariot and others on an exploration of the Chesapeake Bay and made contact there with the Chesapeake Indians. Many of White's paintings were published, sometimes in altered form, by Theodor de Bry as etchings in Hariot's illustrated edition of A briefe and true report of the new found land of Virginia (1590). They are the most accurate visual record of the New World by an artist of his generation. After the first colony failed, White led a second, which was intended for the Chesapeake but which settled again at Roanoke. The colonists included White's daughter, Elinor White Dare, who gave birth to Virginia Dare, the first English child born in America. A poor and unpopular leader, White agreed to be a messenger back to England to inform the colony's backers of the location change and a need for new supplies. Waylaid by the Spanish Armada, he did not return until 1590; the colonists had disappeared. White died three years later.
Thu, 04 Dec 2014 17:14:26 EST]]>
/Dos_Passos_John_1896-1970 Mon, 02 Jun 2014 06:59:12 EST <![CDATA[Dos Passos, John (1896–1970)]]> http://www.encyclopediavirginia.org/Dos_Passos_John_1896-1970 John Dos Passos was a novelist, poet, critic, and painter whose mother was born in Virginia. He came of age traveling through Europe and, after graduating from Harvard University in 1916, served as an ambulance driver during World War I (1914–1918). Amid the destruction of Victorian Europe, Dos Passos developed left-leaning politics that set him against war and in support of workers' rights. As a modernist writer, he became connected with the so-called Lost Generation of F. Scott Fitzgerald, his Harvard classmate E. E. Cummings, and his longtime friend Ernest Hemingway. Dos Passos is most recognized for his three novels known as the U.S.A. trilogy (1930–1936), which critique American culture from the left. In the 1940s, however, when Dos Passos moved to a farm on the Northern Neck in Westmoreland County, Virginia, his politics turned sharply to the right, ending his relationship with Hemingway and deeply affecting his legacy among critics. Dos Passos, who died in 1970, is buried in Westmoreland County and his papers are at the University of Virginia in Charlottesville. The John Dos Passos Prize for Literature has been awarded since 1980 by Longwood University in Farmville.
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/_The_most_promising_work_an_excerpt_from_Exhibition_of_the_Royal_Academy_June_1_1861 Tue, 03 Dec 2013 10:07:21 EST <![CDATA["The most promising work"; an excerpt from "Exhibition of the Royal Academy" (June 1, 1861)]]> http://www.encyclopediavirginia.org/_The_most_promising_work_an_excerpt_from_Exhibition_of_the_Royal_Academy_June_1_1861 Tue, 03 Dec 2013 10:07:21 EST]]> /Brown_George_O_1852-1910 Wed, 30 Oct 2013 16:43:07 EST <![CDATA[Brown, George O. (1852–1910)]]> http://www.encyclopediavirginia.org/Brown_George_O_1852-1910 George O. Brown established a family-run photography studio that recorded African American life in Richmond for seventy years. Brown, probably born enslaved, was working in the photography business by age nineteen old. He opened his own studio in 1899 and moved it to Jackson Ward, the center of Richmond's African American community, in 1905. Two years later his skills earned him a silver medal at the Jamestown Ter-Centennial Exposition. Along with his children, Brown became the most important visual chronicler of Richmond's African American population, documenting community life at schools, colleges, sporting events, and fraternal meetings. The studio took thousands of portraits of ordinary citizens and famed figures such as Maggie Lena Walker and Bill "Bojangles" Robinson. Brown died in 1910, but his photography business continued to operate until 1969.
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/Bridges_Charles_bap_1672-1747 Tue, 23 Jul 2013 10:10:31 EST <![CDATA[Bridges, Charles (bap. 1672–1747)]]> http://www.encyclopediavirginia.org/Bridges_Charles_bap_1672-1747 Charles Bridges was the first documented painter to live and work in Virginia and to produce work of good quality. Born to a gentry family in Northamptonshire, England, Bridges settled in London, where he may have trained as a painter and begun a career as a portraitist. After his wife's death, he moved to Williamsburg with his children in 1735. More than two dozen portraits of Virginians are attributable to Bridges, including members of the Blair, Bolling, Carter, Custis, Grymes, Lee, Ludwell, Moore, Page, and Randolph families. He returned to England about 1744 and died in Northamptonshire in December 1747.
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/_Sketches_in_the_Free_and_Slave_States_of_America_by_Eyre_Crowe_September_27_1856 Mon, 08 Apr 2013 10:44:45 EST <![CDATA["Sketches in the Free and Slave States of America" by Eyre Crowe (September 27, 1856)]]> http://www.encyclopediavirginia.org/_Sketches_in_the_Free_and_Slave_States_of_America_by_Eyre_Crowe_September_27_1856 Mon, 08 Apr 2013 10:44:45 EST]]> /Lewis_Miller_s_Virginia_Slavery_Drawings Thu, 15 Nov 2012 17:29:17 EST <![CDATA[Lewis Miller's Virginia Slavery Drawings]]> http://www.encyclopediavirginia.org/Lewis_Miller_s_Virginia_Slavery_Drawings Many of Lewis Miller's watercolor sketches depict enslaved people in Virginia. Historians have drawn heavily on these to inform their interpretations of bondage as practiced in the state during the years leading up to the American Civil War (1861–1865). Miller, who lived from 1796 until 1882, was a Pennsylvania native who worked as a carpenter and often visited his brother in Virginia. His watercolors and the texts that accompany them are rare, because few artists of his time bothered to depict or write about slaves. His pictures are also valued for their relative emotional detachment and credibility, for Miller fancied himself a recorder, not an agitator, activist, or commentator. He avoided shading his subjects with personal opinion in lieu of drawing and writing what he saw and heard. Yet no reportage is strictly neutral, and he was not immune to wishful thinking, stereotyping, and sentimentalizing. For these reasons, his pictures and texts are best understood within the context of his time, biography, personality, and artistic style. While it is usually impossible to say whether specific subjects were enslaved or free people, the specific contexts of Miller's sketches, combined with what historians know about Virginia's population and its large-scale agrarian economy in the antebellum period (1820–1860), suggest that most of the African American people depicted by Miller were, in fact, enslaved.
Thu, 15 Nov 2012 17:29:17 EST]]>
/Chrysler_Museum_of_Art Wed, 12 Sep 2012 14:35:35 EST <![CDATA[Chrysler Museum of Art]]> http://www.encyclopediavirginia.org/Chrysler_Museum_of_Art The Chrysler Museum of Art is a fine arts museum located along the banks of the Hague in the Ghent district of Norfolk. The museum is modeled in Italian Renaissance style and boasts more than 30,000 pieces of art by a vast array of renowned artists covering many regions and time periods. Greatly expanded by a gift from the art collector Walter P. Chrysler (1909–1988) in 1971, the museum contains one of the world's largest collections of Tiffany glass.
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/Burial_of_LatanAC._The Thu, 31 Mar 2011 13:32:59 EST <![CDATA[Burial of Latané, The]]> http://www.encyclopediavirginia.org/Burial_of_LatanAC._The The Burial of Latané was one of the most famous Lost Cause images of the American Civil War (1861–1865). Painted by Virginian William D. Washington in Richmond in 1864, the work shows white women, slaves, and children performing the burial service of a cavalry officer killed during J. E. B. Stuart's famous ride around Union general George B. McClellan's army during the Peninsula Campaign in 1862. The incident first inspired a poem and then the painting, which became a powerful symbol of Confederate women's devotion to the Confederate cause.
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