Editor's note: The Lowe Art Museum at University of Miami provided source material to Resource Library for the following article or essay. If you have questions or comments regarding the source material, please contact the Lowe Art Museum at University of Miami directly through either this phone number or web address:



 

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.
 
Worth B. Stottlemyer Collection
Juniata College Museum of Art
 
 
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.
 
Worth B. Stottlemyer Collection
Juniata College Museum of Art
 
 
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
 
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.
 
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.
 
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.
 
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.
 
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.
 
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.
 
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.
 
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.
 
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.
 
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.
 
Worth B. Stottlemyer Collection
Juniata College Museum of Art
 
 
Peter Moran
(American, 1841-1914)
The Fakes, c. 1870
Oil on board
 
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.
 
Worth B. Stottlemyer Collection
Juniata College Museum of Art
 
 
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.
 
Worth B. Stottlemyer Collection
Juniata College Museum of Art
 
 
Franklin D. Briscoe
(American, 1844-1903)
Harbor Scene, 1876
Oil on canvas
 
Edward Moran instructed a young artist named Frank D. Briscoe from Baltimore. Briscoe's paintings, primarily seascapes, demonstrate Edward's influence. Briscoe's 1876 painting illustrates the relationship between pupil and teacher with its lighting effects and the portrayal of its safe harbor. Briscoe's style also reflects the influence of J.M.W. Turner whose importance Briscoe learned from Moran.
 
Worth B. Stottlemyer Collection
Juniata College Museum of Art
 
 
Sir Francis Seymour Haden
(British, 1818-1910)
 
Twickenham Church, 1865
 
Etching
 
Worth B. Stottlemyer Collection
Juniata College Museum of Art
 
 
James D. Smillie
(American, 1833-1909)
 
My Colored Neighbor's Hen Yard, n.d.
 
Etching
 
 
Samuel Colman
(American, 1832-1920)
 
Kew Garden, n.d.
 
Etching
 
 
Frederick Stuart Church
(American, 1842-1924)
Good Morning, 1885
 
Etching
 
 
Worth B. Stottlemyer Collection
Juniata College Museum of Art
 

 

Read more articles and essays concerning this institutional source by visiting the sub-index page for the Lowe Art Museum at University of Miami in Resource Library.


Visit the Table of Contents for Resource Library for thousands of articles and essays on American art, calendars, and much more.

© Copyright 2004 Traditional Fine Arts Organization, Inc., an Arizona nonprofit corporation. All rights reserved.