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The Morans: The Artistry
of a 19th-century Family of Painter-Etchers
September 18 - November 14, 2004
An impressive array
of 19th century watercolors, paintings and etchings by members of the Moran
family, one of the most prolific families of artists in American history,
will be on display at the Lowe Art Museum at University of Miami, from September
18 to November 14, 2004.
The exhibition features works from the extended family
of Thomas Moran, an adventurous painter whose scenes of the American West,
specifically views of what is now Yellowstone National Park, ignited interest
in westward expansion. Moran's western scenes are included in this show,
as well as many views of eastern locales such as central Pennsylvania and
East Hampton, N.Y. (right: Edward Moran (American, 1829-1901), Sailboats
at Sunset, c. 1870, oil on canvas)
The exhibit is gleaned from Juniata College Museum of Art's
Worth B. Stottlemyer Collection, a 400-piece collection that includes 17th
through 20th century European and American paintings, prints, drawings and
portrait miniatures.
The show also reveals previously unknown watercolors by
Thomas Moran and his wife, Mary Nimmo Moran, as well as etchings from both
artists. The exhibition highlights the work of other Moran family members,
including Thomas Moran's brothers, Edward and Peter, as well as Edward's
son, Leon. Their paintings include landscapes, seascapes, portraits and
genre scenes.
Many of the scenes on display are of terrain around East
Hampton, Long Island where the Morans and other artists such as Winslow
Homer captured scenes of local fishing villages and open fields.
"Expansion of the railroad to Long Island in the 1840s
opened up that area for vacationers and artists seeking undisturbed scenery,"
says Nancy Siegel, curator of the museum. "Thomas and Mary Moran made
their home in East Hampton and the countryside gave them extensive visual
inspiration."
Many of the works from Thomas and Mary Nimmo Moran are
etchings, an artistic medium that experienced a revival of interest in the
1870s, aided in part by the Moran family.
The works of Thomas Moran in the exhibit are mainly landscape
scenes from New York and Pennsylvania. In 1864, Thomas Moran, a self-taught
artist, and his brother John, a photographer, traveled westward to view
the rugged country of the Allegheny Mountains. On this trip, Moran made
at least 30 sketches around Huntingdon, Gallitzin, and Spruce Creek. He
worked from photographs taken by his brother, a method he continued to use
(with other photographers) on his western trips.
In 1871, Thomas Moran was a guest artist on a geological
survey trip to the Yellowstone area. At that time, Yellowstone had been
little described, and the scenery had been viewed by very few non-Native
Americans. His most famous painting, "The Grand Canyon of the Yellowstone,"
was painted from this trip and was subsequently bought by the U.S. Congress
for $10,000 in 1872. His early images of the then-unknown western landscape
created a sensation in the population centers of the East Coast. He later
traveled to Yosemite and the Grand Canyon, producing large-scale paintings
of the West showing realistic images of locales that remained unseen by
most of the country's population. Several images and studies from these
trips are included in the exhibit.
Mary Nimmo Moran was a student of Thomas Moran who married
her teacher in 1862. Mary continued her art career during their marriage,
but concentrated her talents on creating art from imagery close to the family's
homes as her husband traveled on his western trips.
Mary Moran sketched outdoors, directly onto her etching
plates and her work was accepted into several male-dominated art societies.
She also acted as business manager for her husband's commissions and illustration
work. Mary did travel west with her husband in 1872 and 1874, however, various
responsibilities kept her close to their eastern home.
Thomas's brother, Peter, was known for his images of animals.
Most of his work depicts Pennsylvania farm scenes, barnyard images and domestic
animals. He also traveled west to New Mexico, Nevada, Utah and Wyoming as
part of a federal program to document the culture and customs of Native
American tribes of the Southwest
Edward Moran, Thomas' older brother, first came to prominence
in the 1850s. Influenced by the English artist J.M.W. Turner, Edward Moran
preferred painting seascapes. Edward's son, Leon, (1864-1941) also has a
painting, "Portrait of a Young Girl," that is representative of
the younger Moran's genre painting.
Following is label text from the exhibition:
-
-
- Edward Moran
- (American, 1829-1901)
- Sailboats at Sunset, c. 1870
- Oil on canvas
-
- This painting is indicative not only of Edward Moran's preference for
subject matter, but also reflects his interest in the properties of light
and atmosphere at specific times of the day. Edward, like his younger brother
Thomas, was interested in the relationships between color and light. While
the objective focus of this painting is the placement of sailing vessels
from the foreground to their diminutive placement on the horizon, the real
concern for Edward is the depiction of light and air. At the horizon line
on the right hand side, the water is subsumed gently into the sky. The
soft, muted yellows and orange of the late day sky feel almost tangible
in this scene and the reflection of light cast upon the still, calm sea
reflects Edward's admiration for J.M.W. Turner's style. Sailboats at
Sunset typifies in many ways the style and ability of Edward Moran
as found in the numerous paintings that resulted from his sketching tours
along the eastern shores of the United States.
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- Worth B. Stottlemyer Collection
- Juniata College Museum of Art
-
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- Leon Moran
- (American, 1864-1941)
- Portrait of a Young Girl (Mary Moran?), c.1880
- Oil on panel
-
- John Leon Moran, one of Edward's two sons, referred to himself simply
as Leon. By comparing this tender portrayal of a young girl to available
photographs, the sitter may be Leon's cousin Mary, Thomas Moran's daughter.
The fine detail in the young girl's face is juxtaposed against short, quick
brushstrokes that denote her bodice. The portrait on this oblong panel
appears unfinished due to the sketchy quality of the brushwork on the figure's
upper torso and the mere suggestion of the chair on which she sits. However,
these qualities are consistent with the French Barbizon style that Leon
would have become familiar with while studying in Paris in the 1870s. The
viewer reads a few strokes of white paint on the far left as a window through
which the young girl looks and conversely casts a shadow across her left
cheek. There is a wonderful contrast between the delicacy in the treatment
of her hair and silhouette versus the rough quality and slightly thicker
application of paint in the depiction of her dress. The muted palette of
mauves, pinks, and beige allow the figure to blend softly into the grain
of the wooden panel. This truncated portrait is painted on a piece of hardwood
such as mahogany and may have been cut from a piece of furniture. The reverse
is inscribed and signed "sketch of a young girl by Leon Moran"
in his uncle Thomas Moran's handwriting.
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- Worth B. Stottlemyer Collection
- Juniata College Museum of Art
-
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- Thomas Moran
- (American, 1837-1926)
- Sketch of ancient ruins from Shelley's "Alastor," 1856
- Graphite and brown ink
-
- This hitherto unknown sketch is, as the artist inscribed on the reverse,
"one of my earliest designs about 1856." Also inscribed are condensed
lines from the poem: "Among the ruined temples there, he lingered
pouring oer memorials of the worlds youth. Shelley's 'Alastor.'" Capitalizing
on the theme of solitude, a single figure, presumably a poet, sits alone
atop the ruins of an ancient temple. Although diminutive in size, the figure
is located centrally in the scene surrounded by an array of fragmented
architecture and sculpture highlighted by a brown ink wash. As new plant
life begins to encompass the architectural remains, this drawing suggests
the cyclical and regenerative powers of nature, reinforcing the Romantic
theme of the insignificance of man in relation to a higher power. This
early encounter with Romantic poetry inspired Moran to explore the landscape
around him and to create poetic imagery of his own.
-
- Worth B. Stottlemyer Collection
- Juniata College Museum of Art
-
-
- Thomas Moran
- (American, 1837-1926)
- Fording the Stream Green River, Wyoming Territory, 1886
- Etching
-
- This image is based on a painting of the same title that was included
in an 1886 sale at Ortgies and Company Gallery in New York City to raise
funds for a trip to Venice. Moran's travels west often kept him away from
home for extended periods of time. He corresponded with his wife Mary frequently
and the following is indicative of the conversational nature of his letters:
- On the Cars, Cheyenne, Saturday, July 5th, (1873)
- My Dear Wife,
- We are just about to go into Cheyenne & as we there meet the eastern
bound train I will drop you a line. We stopped over a day at Omaha where
it was so insufferably hot that it gave me a slight shaking up. We have
had a pretty pleasant time of it so far with the exception of the matter
at Omaha. Omaha is an awful hard place with vile accommodation and eating
at the hotel. The plains look like they did last year except a little greener.
I hope that your dear self will keep well. Don't expose yourself too much
& I think you might get right well this summer. Tell Paul to be good
& not go in any dangerous places & I will bring him something back.
Regards to all of them. The train is about to start & I must stop.
- Your affectionate Hub,
- Tom
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- Worth B. Stottlemyer Collection
- Juniata College Museum of Art
-
-
- Thomas Moran
- (American, 1837-1926)
- The Rapids of Niagara from Sister Island, 1881
- Etching
-
- Thomas Moran traveled throughout the United States, Europe, and Canada.
In 1881, he was commissioned by a Canadian publisher, Schell and Hogan,
to provide a series of twelve images of Niagara Falls to be included in
the publication Picturesque Canada (1881). The 1881 etching The
Rapids of Niagara from Sister Island was reproduced as a wood engraving
for that book. The concept for Picturesque Canada was conceived
directly from the success of its American counterpart, Picturesque America
(1874), edited by William Cullen Bryant.
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- Worth B. Stottlemyer Collection
- Juniata College Museum of Art
-
-
- Thomas Moran
- (American, 1837-1926)
- The Rescuing Party, 1886
- Etching
-
- In addition to providing illustrations that would promote the landscape,
Moran also used his talent to promote himself, particularly in the effort
of raising funds. The Rescuing Party (1886) first appeared in the
1886 Ortgies and Company sale catalog to provide funds for his trip to
Venice of that year. The number "19" in the upper left corner
corresponds to the catalog entry and was removed when it was published
by the art dealer Christian Klackner in 1887 at which time Klackner would
have added his own copyright to the image.
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- Worth B. Stottlemyer Collection
- Juniata College Museum of Art
-
-
- Thomas Moran
- (American, 1837-1926)
- Cattle Headed Home, c. 1880
- Etching
-
- Worth B. Stottlemyer Collection
- Juniata College Museum of Art
-
-
- Thomas Moran
- (American, 1837-1926)
- At the Geysers, August, 1871
- Hand colored photograph
-
- In 1871, at the age of 34, Thomas Moran served as a guest artist on
a western geological survey led by Ferdinand V. Hayden to the Yellowstone
area. Moran paid for his travels through private funds. He acquired a five
hundred dollar loan in exchange for future works from Roswell Smith, one
of the owners of Scribner's Monthly Magazine and another five hundred
dollars from Jay Cooke, a financier of the Northern Pacific Railroad. Travel
was by train and horseback which was arduous and oftentimes dangerous.
However, Moran's sketches and watercolors from this trip resulted in numerous
commissions for illustrations from publications such as Scribner's,
The Aldine, and Harper's Weekly. By far the most important
canvas to result from his studies of the area was Grand Canyon of the
Yellowstone (1872). This 84" x 144" canvas was purchased
by the United States Congress for $10,000 in 1872, the year that Yellowstone
became a national park. It was on this trip in 1871 that Moran met photographer,
William Henry Jackson, who accompanied Hayden's expedition to the source
of the Yellowstone River. Jackson took the photograph from which this hand
colored photograph was made. Jackson and Moran formed a lasting personal
and professional relationship. Jackson's description of Moran from this
expedition is a strong visual accompaniment to the photograph.
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- Worth B. Stottlemyer Collection
- Juniata College Museum of Art
-
-
- Thomas Moran
- (American, 1837-1926)
- Untitled Landscape, 1865
- Watercolor
-
- During the time that Moran was traveling through Pennsylvania in 1864
and 1865 he journeyed from Philadelphia along the Delaware Valley and west
past Wissahickon to the Conemaugh Valley by Johnstown. This watercolor
exemplifies his work of rural Pennsylvania. The scene appears open and
expansive while a solitary traveler in a horse-drawn cart makes his way
toward an unseen destination. There are a few trees dotting the horizon
and the schematic rendering of structures in the distance. The focus of
this watercolor, however, is the passage of cloud formations and the vastness
of the sky. Such imagery reflects Moran's interest in depicting wide open
spaces, low horizon lines, and changing atmospheric conditions. These early
views of the American landscape are interesting precursors to his grandiose
western views and his later East Hampton imagery. Part of Moran's importance
as an artist lies in his ability to promote an awareness of and appreciation
for American scenery not only on the dramatic scale of Yellowstone, but
also on the more personal and regional level of contact that most Americans
would have had with the land.
-
- Worth B. Stottlemyer Collection
- Juniata College Museum of Art
-
-
- Thomas Moran
- (American, 1837-1926)
- Communipaw, February 1879
- Watercolor and ink
-
- Moran began a series of images of Communipaw, New Jersey in 1879. An
industrial site across the Hudson River on the New Jersey side, Communipaw
does not appear on maps of the 1870s although the town was established
in 1629 and was the site of sugar refineries and large industrial factories
such as the Lorillard Tobacco Company and Dixon Pencils. Moran chose to
focus on the open pasture with only a suggestion of the presence of industry
in the landscape. The trails of smoke blend with the clouds as they waft
gently upward into a sky of unnatural brilliance. Here, the influence of
Turner's late ethereal works are felt best as Moran allows for broad sweeps
of color across the paper. There is very little use of ink: a few suggestive
lines in the landscape, the figures, and the outlines of trees that dot
the horizon line. The remainder of the composition rests on the artist's
ability to convey form as well as mood through color alone. Moran allows
the medium to direct forms and soften edges.
- Sparsely dotted with foliage along the horizon, Moran capitalizes on
the brilliant effects of atmospheric conditions at twilight as soft and
subtle strokes of watercolor wash across the sky. Despite the relatively
small dimensions of this watercolor, Moran is able to create a panoramic
scope by the suggestion of an expansive sky and sweeping horizon line.
However, unlike the vast expanses of space and mountainous terrain depicted
in his watercolor sketches of the Grand Canyon, the east coast scenes evoke
a sense of quietude suggested by the time of day and the gentler terrain.
The inclusion of two figures may represent Moran and his wife Mary. She
raises the hem of her dress as she walks while he carries what appear to
be portable easels. The autobiographical inclusion of husband and wife
walking together on a sketching trip is unique. Their solitude, expressed
in black silhouettes, lends a charming intimacy to this work and their
presence alone is unusual as the artist preferred to capture the landscape
as he remembered it, not as he passed through it.
-
- Worth B. Stottlemyer Collection
- Juniata College Museum of Art
-
-
- Thomas Moran
- (American, 1837-1926)
- The Gibbet, 1878
- Watercolor
-
- This is an example of work produced by Thomas Moran during the 1870s.
A gibbet, or gallows, can be found minutely jutting up from the horizon
line on the left side of this watercolor and ink. Signed and dated 1878,
this was the year that Moran first visited East Hampton. He was residing
in Newark and traveling across New Jersey to towns such as Feltville for
sketching trips. The inscription includes the following notation: "37
W. 22" which is the address the Morans moved to in New York City in
1888. The address, added ten years after he painted this watercolor demonstrates
Moran's tendency to inscribe works well after he had produced them. Despite
the somber inclusion of the gallows, the somewhat desolate and rocky terrain
is enhanced by rich tonal variations of earthy browns.
-
- Worth B. Stottlemyer Collection
- Juniata College Museum of Art
-
-
- Thomas Moran
- (American, 1837-1926)
- Montauk Pond, c. 1880
- Watercolor and graphite
-
- This undated watercolor reflects Moran's ability to convey the beauty
of a vast landscape with limited colors and a few simple strokes of a brush.
The schematic handling of the cattle adds focus to this calm pastoral scene
and the subtle gradations of blue wash reflect the pleasant summer skies
on eastern Long Island. The low horizon line, reminiscent of the Dutch
tradition, places great attention on atmospheric conditions and the enormity
of the sky, while the style and delicate washes of color remind one of
Moran's watercolors of the West.
- On the reverse of this image are two inscriptions. In pencil, the artist
has written to a potential patron, "Mr. Mackay- will be back in a
few minutes- Moran." Additionally, in pen is written, "Mr. T.
Moran- Booth Building- N.Y. City." Thomas Moran rented studio space
in the Booth Theatre Building, located at 6th Avenue and 23rd Street, two
blocks from the National Academy of Design, for four years between 1880
and 1884. Thus, the date of Montauk Pond is most likely from this
period.
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- Worth B. Stottlemyer Collection
- Juniata College Museum of Art
-
-
- Thomas Moran
- (American, 1837-1926)
- East Hampton, c. 1883
- Watercolor
-
- This watercolor demonstrates Moran's proclivity for atmospheric observations.
Two-thirds of this watercolor is devoted to the cloud formations above
an open field and the inclusion of a small partial fence is the only indication
of man's presence. Although the foreground shrubbery and background trees
are abstract applications of muted blues, greens, and brown, the viewer
reads this composition without hesitation as a sunny day in bucolic East
Hampton.
-
- Worth B. Stottlemyer Collection (Gift of Mrs. Lisa Emerson)
- Juniata College Museum of Art
-
-
- Mary Nimmo Moran
- (American, 1842-1899)
- Point Isabel, Florida, 1887
- Etching
-
- In 1877, Thomas Moran accepted a commission from Scribner's
to illustrate a new tourist area, St. Augustine and Fort George Island,
Florida for the purpose of promoting tourism. Both he and Mary used the
opportunity to make numerous sketches, returning to Florida again in 1887
as depicted by Mary in this etching.
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- Worth B. Stottlemyer Collection
- Juniata College Museum of Art
-
-
- Mary Nimmo Moran
- (American, 1842-1899)
- Goose Pond, Easthampton, c. 1883
- Etching
-
- The Morans frequented East Hampton and the purchase of land in 1882
would provide them with not only a summer home and studio, but afforded
both Mary and Thomas the opportunity to enjoy, etch, and paint the pastures
and meadows that they came to cherish. Mary made numerous etchings of East
Hampton as the varied landscape provided her with much visual inspiration
and allowed her to improve her technical ability. The dense foliage and
wide tonal variations in a view of Goose Pond, Easthampton are indicative
of Mary Nimmo Moran's skill with the etching needle and her careful attention
to the printmaking process.
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- Worth B. Stottlemyer Collection
- Juniata College Museum of Art
-
-
- Mary Nimmo Moran
- (American, 1842-1899)
- A Wooded Landscape, c. 1880
- Etching
-
- Mary Nimmo Moran consistently signed her etchings "M. Nimmo Moran"
or "M. N. Moran." Regarding her memberships to the New York Etching
Club and the Royal Society of Painter-Etchers, the membership committees
assumed that Mary was a male artist. By employing her initials instead
of her full name her gender was not revealed. Her conscious decision to
truncate her name invariably resulted in her acceptance into male dominated
art societies. For example, she was the only female member of the Royal
Society of Painter-Etchers and for years her correspondence from the society
was addressed to "Mr. M. Moran." The matter of gender as it related
to the perception of women artists was a poignant issue. Technically and
formally, the matter of stylistic differentiation between male and female
artists was raised often. An 1893 review of women's etchings at the New
York Etching Club read, "It scarce seems a lady-like work that begins
in a scratching and ends in a biting."
- Worth B. Stottlemyer Collection
- Juniata College Museum of Art
-
-
- Mary Nimmo Moran
- (American, 1842-1899)
- Three Mile Harbor Road: Twilight, 1880
- Etching
-
- Mary excelled at both linear and tonal processes and like the Barbizon
artists, she paid close attention to weather conditions and atmospheric
changes. Technically, her use of retroussage (the wiping away of ink to
produce hazy layers of atmosphere) was hailed by critics as was her bold
use of line and uneven biting of the plate. She refused to sway to the
public demand for larger images and maintained the intimacy obtained from
working the small plate. In this image the extensive use of retroussage
dominates, thus creating the effect of an overcast sky with thick clouds
obscuring the remaining light of day.
-
- Hook Pond, Easthampton, L.I., 1884
- Etching
-
- Hook Pond, Easthampton, L.I. demonstrates Moran's increased
confidence in allowing unworked areas of the plate to reflect open passages
of air and light. Notice how the artist captures the natural surroundings
with a limited use of lines. The right foreground becomes almost abstract
in its brevity of strokes, however, the viewer optically reads the scene
as the dock and shoreline.
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- Worth B. Stottlemyer Collection
- Juniata College Museum of Art
-
-
- Mary Nimmo Moran
- (American, 1842-1899)
- Summer, Suffolk Co., N.Y., c. 1883
- Etching
-
- A turning point in Mary's development as an artist occurred in 1878.
Not only was this the year of her first trip to East Hampton, but Thomas
bought an etching press for their Newark home. Before leaving in 1879 with
his brother Peter for a commission from the Union Pacific Railroad to the
Teton Range, Thomas prepared six plates for etching and instructed Mary
to experiment. Upon his return, Thomas was so impressed by his wife's efforts
that he sent four of the resulting etchings to the New York Etching Club
where she was elected to membership. Those same etchings also gained her
acceptance into the Royal Society of Painter-Etchers in London. Mary Nimmo
Moran became a prolific artist producing numerous watercolors and etchings
of the American landscape.
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- Worth B. Stottlemyer Collection
- Juniata College Museum of Art
-
-
- Mary Nimmo Moran
- (American, 1842-1899)
- The Bathers, 1886
- Etching
-
- In addition to her art, Mary was also the manager of her husband's
career and home life. As their daughter Ruth noted, "Without mother,
father could never have become what he did. She never allowed any barrier
to come between him and his destiny-which was to paint ceaselessly."
To promote her husband's career, Mary often made etchings after her husband's
paintings to serve as illustrations in exhibition catalogs. This etching
is from a 30"x 25" painting by Thomas Moran of a location in
Scotch Plains, New Jersey. The painting was exhibited in 1879 at the Pennsylvania
Academy. Mary's etching of the work was used to illustrate the Ortgies
and Company 1886 sale catalog; the proceeds funded Thomas's trip to Venice.
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- Worth B. Stottlemyer Collection
- Juniata College Museum of Art
-
-
- Mary Nimmo Moran
- (American, 1842-1899)
- Goose Pond, Easthampton, c. 1880
- Watercolor and ink
-
- Recurring motifs such as Hook Pond and the windmill of Goose Pond provided
both Mary and Thomas with years of pleasurable etching and numerous watercolors.
This watercolor depicts a favorite location for Mary Nimmo Moran. A sailboat,
the windmill, and a few coastal homes are suggested by quick strokes of
ink. The remainder of the composition is devoted to a vast open sky through
the minimal use of color and form. It was by this pond that Mary was buried
upon her death in 1899.
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- Worth B. Stottlemyer Collection
- Juniata College Museum of Art
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- Peter Moran
- (American, 1841-1914)
- The Fakes, c. 1870
- Oil on board
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- This is a trompe l'oeil composition meant to fool the eye. Peter presents
one image that gives the illusion of five separate works tacked to a backing
board. Some of the imagery reflects tales from Aesop's fables such as the
fox and the grapes. Other scenes typical of his subject matter include
the stable with two large horse heads being watched by a dog. This scene
gives the appearance of curling at its bottom edge, tacked at an angle
to reveal the slightest hint of the image underneath where only a partial
tail is observed. The fisherman at the top left is reminiscent of his brother
Edward's paintings while at the bottom right, Moran capitalizes on the
theme of falseness. A snake, in an array of hardware items, has curled
itself amorously around a file whose rough pattern simulates the snake's
skin. Alas, this too is fake. Nature is fooled by art as Moran makes reference
to the long standing tradition of art in imitation of nature. This is a
humorous and fanciful work by the artist. Painted in grisaille (shades
of black and white) and sepia, the forms are given sculptural qualities
which increase the trompe l'oeil effects.
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- Worth B. Stottlemyer Collection
- Juniata College Museum of Art
-
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- Peter Moran
- (American, 1841-1914)
- Showery Weather, c. 1880
- Etching
-
- Peter was drawn particularly to the work of animal painters, Constant
Troyon and Rosa Bonheur. In addition, he traveled to England in 1863 to
study the works of animal and landscape artist Sir Edwin Landseer. Committed
to the study of animal anatomy and gesture, Peter limited himself to the
subject mater of Pennsylvania farm life, barnyard scenes, and domestic
animals. So proficient, he received a medal for his painting The Return
of the Herd at the 1876 Centennial Exposition in Philadelphia where
Peter also displayed thirty-seven etchings. Similar to his award winning
painting, this etching depicts the herdsman as a simplified form holding
an umbrella. The focus is on the charismatic personalities of the three
cows in the foreground. Unaware of the inclement weather, they march along
while the largest of the three looks directly at the viewer. This image
demonstrates Peter's dexterity with the etching needle as well as his ability
to produce strong contrasts and tonal variations from the plate.
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- Worth B. Stottlemyer Collection
- Juniata College Museum of Art
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-