Though the earliest references to the term “Hudson River School” in the 1870s were disparagingly aimed, the label has never been supplanted and fairly characterizes the artistic body, its New York headquarters, its landscape subject matter, and often literally its subject.
of itinerant portrait painting in Ohio and western Pennsylvania, and a stint in Philadelphia
Jewish ceremonial objects—collectively referred to as Judaica—that survive from early modern Italy highlight the vibrant Jewish life from that period and region, even if Jews were generally restricted from producing these works.
Philadelphia: The Jewish Publication Society of America, 1946.
Lage, Germany, 1880–Lausanne, Switzerland, 1959
Lauder Cubist Collection), Three Musicians (1921; Philadelphia Museum of Art), and
The furniture, paintings, and ceramics in this pre-Revolutionary room, on view at The Met, all belonged to Samuel Verplanck (1739–1820), a member of an influential New York City family, and his Dutch-born wife, Judith Crommelin Verplanck (d. 1803).
When Rebecca Franks of Philadelphia visited the city in 1781, she wrote to her sister
The last quarter of the century witnessed the true vindication of watercolor, not merely in popularity but in its nature—as a fluid and transparent medium.
Conspicuous among them was the landscape painter William Trost Richards of Philadelphia
Philadelphia Inquirer (March 27, 1992), p. 28. Richard J.
Philadelphia Museum of Art.
Exh. cat., Philadelphia Museum of Art.
Recalling the Old English word fabrile (hand-wrought), Tiffany named the blown glass from his furnaces Favrile, a trademark that signified glass of hand-made and unique quality.
Completed in 1872 and exhibited at the 1876 Centennial Exposition in Philadelphia
