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Description: Samuel F. B. Morse’s Gallery of the Louvre and the Art of Invention
Index
Author
PublisherTerra Foundation for American Art
View chapters with similar subject tags
Index
AAFA. See American Academy of the Fine Arts
Académie Royale de Peinture et de Sculpture, 36–37, 39
Acts of the Apostles, 156
Aeneas, 161–62
alchemy, 151
Allom, Thomas, Grand Gallery of the Louvre, 38, 39
Allston, Washington, 15, 17–18, 21, 28, 29, 50, 93, 94, 106, 149, 151, 153–55, 158, 171, 185, 189
Dead Man Restored to Life by Touching the Bones of the Prophet Elisha, 19, 19
Self-Portrait, 18
America (Vauxhall Porcelain Factory), 91, 92
American Academy of the Fine Arts (AAFA), 16, 78, 94, 96
American art and culture: Civil War, 181
Gallery as inspirational and instructional example for, 17, 41, 43, 47, 55, 77, 82, 117, 135, 142
God’s election of America, 155
history painting in, 19, 79
invention in, 178
Morse’s views on, 35, 39–40
movement of civilization toward, 159–63
National Academy of Design formed to benefit, 21, 138
national gallery for, 141
nationalism and, 17, 57, 135, 140, 141, 149
old master paintings and, 180–82
pathos lacking in, 169, 178
sociocultural changes, 16
technology and, 16, 131, 140–41
American Art Journal, 180
American Art-Union, 16
American Board of Commissioners for Foreign Missions, 153
American Museum, New York, 82
American places, 169, 178, 182
Ampère, André-Marie, 115, 127n14
Anderson, James, 151–52
Angiviller, Comte d’, 37, 39
Apollo Belvedere, 89, 91, 94, 95
aristocracy, 51, 135, 138
Aristotle, 21
art academies, 78
art and painting: communication through telegraphy compared to, 120–22
God as foundation of, 150, 155
mass reception of, 118
memory and, 122–23
Morse and the theory and practice of, 15–16, 18, 21–22, 26–29, 35, 40, 42, 63, 78, 139–45
Morse’s abandonment of, 6, 44, 78, 107, 123, 129n53, 131, 170
nature improved upon by, 120–22, 143
science and technology in relation to, 131, 139–42, 145n4
telegraphy in relation to, 131–34. See also American art and culture
Artemis with a Doe (called Diana of Versailles), 89, 90, 91–93, 95, 96, 98n14, 111, 135, 153, 155–57
Arundel, Earl of, 56
asphaltum, 28, 189
associationism, 142
astronomy and astrology, 162
Auden, W. H., 169
Augur, Hezekiah, 102
Bacon, Francis, 161
Balzac, Honoré de, 174
Les Chouans, 159
Bartram, William, 64–65, 72
Canna Indica L., 64–65, 64
Basil of Caesarea, Saint, 151
Batchen, Geoffrey, 108n3, 108n16
Bayard, Hippolyte, 106
Beaumont, George, 49
bees, 151, 152
Benjamin, Walter, 118
Bentham, Jeremy, 134
Berkeley, George, 144, 150, 161
Siris, 162
binary logic, 132–33
Blanc, Charles, 44
Blanchard, Thomas, 102
Bolognese art, 56
Bonaparte, Napoleon, 38, 91, 154
Borghese Vase, 89, 90, 91–93, 96, 158
Boston Athenaeum, 48
Boston Daily Evening Transcript (newspaper), 121
botanical illustration, 64–65
Bread and Cheese Club, 23, 89
Breton peasants, 159–62, 164
British Institution, 40, 49–50, 54
British School, 53, 55–56
Broodthaers, Marcel, White Room (Salle blanche), 113
Brownlee, Peter John, 70, 144
Brückner, Martin, 69, 72
Bryant, William Cullen, 21
Bunker Hill Monument, 153
Cabot, John, 161
Cabot, Sebastian, 161
Calvinism, 17, 140, 149, 151, 152, 155, 157–59, 170
camera obscura, 24, 103
Canaletto, 56
Capitol Building, Washington, D.C., 20, 22, 103
Caravaggio, Fortune Teller, 28, 158
Carey, James W., 119
Carracci, Annibale, Virgin and Child with Saints Luke and Catherine, 41
Cartier, Jacques, 159
Catherine, Saint, 163
Catholic Church, 17, 24, 95, 138, 149, 155, 157, 163
Cézanne, Paul, 38
Champfleury (pseudonym of Jules-François-Félix Husson), 124
Channing, William Ellery, 158
Chappe, Ignace, the elder, 116
Chappe brothers, 115, 117
Charleston Courier (newspaper), 121
Charlotte, Queen of England, 49
chemistry, 151
chiaroscuro, 174–78, 180–82
cholera, 24, 72, 95, 151, 163, 170, 171, 181
Christ, Jesus: blood of, 150, 153, 155–59
body of, 151
Freemasonry and, 153
God’s elect as images of, 149
healing role of, 151, 153
marriage to, 155, 163
pagan types for, 157, 158–59, 162
redemptive role of, 149, 150, 153, 155, 157, 158
resurrection of, 151, 160, 162, 164
significance of, in Gallery, 150, 153–59
Trinitarianism and, 157
triumph over death, 160
Cikovsky, Nicolai, Jr., 69, 131
Civil War, American, 181
Clarke, George Hyde, 25–26, 25, 82, 98n16, 111, 180
Cleopatra, 162, 163
Clinton, DeWitt, 152
Colbert, Charles, 137
Colbert, Jean-Baptiste, 36, 38
Cole, Thomas, 23–24, 52, 95, 96, 111, 163
Coleridge, Samuel Taylor, 139–40
color, 26–27, 144, 152–53
communication, 119–20, 139
comparative hang, 41
Conceptual art, 113
Congregationalism, 157
congruity, 28
“connexion,” 15, 63, 157
connoisseurship, 51
conservation, of Gallery of the Louvre, 24, 26, 28, 185–89, 186–88
contiguity, 27
contrast, 28
Cooke, George, 75n49
Cooper, James Fenimore: and Bacon’s philosophy, 161
Balzac influenced by, 159, 174
and chiaroscuro, 174–77
Clarke as cousin of, 25, 111
correspondence involving, 78, 82, 89, 95, 123
Deerslayer, 175
depicted in Gallery, 26, 51, 70, 93, 96, 120, 122, 135, 137–39, 139 (detail), 160, 173–77
and Gallery, 25, 70, 81, 119, 128n35, 128n37
gifts from, to National Academy of Design, 92–93
and invention, 176, 178
The Last of the Mohicans, 70, 159, 174–76, 178
Morse’s copy of Rembrandt’s Angel Leaving the Family of Tobias for, 112, 126n1, 126n4, 160, 175
Morse’s friendship with, 23, 70, 95–96, 113, 161
and the old masters, 174–78
The Pioneers, 95
and politics, 138
portrait of, 23
Trinitarianism of, 138
Cooper, Susan DeLancey, 120, 122, 126n1, 135, 137–39, 139 (detail), 160, 174, 178
Cooper, Susan Fenimore, 120, 122, 135, 137–39, 139 (detail), 160, 174, 175
copies of paintings: changing market for, 44
French academic training and, 38–39
for Gallery, 24, 36, 63–64, 103
in Gallery, 40, 43–44, 112, 135–37, 172–73
located vs. non-located, 111–12
Morse’s execution of, 22, 93, 117–18
practice of making, 35–36, 177
size of, 126n8. See also imitation
Copley, John Singleton, 18
copying and imitation: in American technology, 177–78
artistic philosophy underlying practice of, 35
Morse and, 117–18
of nature, 15, 102, 121
sculpture-replication machine, 98n27, 102
telegraphy compared to, 120–22
types of, 15, 102. See also copies of paintings; intellectual imitation; mechanical imitation
Coques, Gonzales, Cabinet of Pictures, 49
Correggio, 106
Mystic Marriage of Saint Catherine of Alexandria with Saint Sebastian, 38, 55, 163, 163
Courbet, Gustave, 44
The Artist’s Studio, 124, 124
Cranch, John, 95
curiosity cabinets. See Kunstkammern
Cyrus the Great, 156–57
Daguerre, Louis-Jacques Mandé, 104, 106, 141
daguerreotypes, 67, 104–7, 108n1, 117, 122, 151. See also photography
Dana, James Freeman, 115
Danby, Francis, Opening of the Sixth Seal, 164
Daniels, Dieter, 141
Daumier, Honoré, A Day When You Do Not Pay. Twenty-Five-Degree Heat, 43
David, Jacques-Louis, 38, 39, 42
Intervention of the Sabine Women, 39, 53
Davis, Alexander Jackson, 180
Davis, John Scarlett, 54, 56
Interior of the British Institution, 51, 51, 55, 62
The Salon Carré and the Grande Galerie of the Louvre, 1831, 41, 47, 51–57, 54, 62, 135
Davy, Humphry, 102
death, 72
DeForest, David Curtis, 20
DeForest, Julia Wooster, 20
Degas, Edgar, 38
deism, 157
Delacroix, Eugène, 38
Liberty Leading the People, 91, 92
democracy, Morse and, 17
De Piles, Roger, “The Balance of Painters,” 41, 41.
Diana. See Artemis with a Doe (called Diana of Versailles) diorama boxes, 62
disegno (drawing), 36, 153
Doggett, John, 83n7
Dolci, Carlo, 117
Donaldson, Robert, 22
Draper, John William, 104–7
photograph of, 104
Still-Life, 101, 105–7, 105, 107 (detail), 108n16
drawing (disegno), 36, 153
Duchamp, Marcel, 121
Ducretet, Eugène Adrien, Reproduction of Hippolyte Pixii’s 1832
Electromagnetic Generator, 115, 115
Dunlap, William, 79, 81, 82, 96, 118, 119, 120, 164
Christ Rejected, 80
Durand, Asher Brown, 128n29
LandscapeComposition: In the Catskills, 169, 170
Dutch art, 36, 56
Dwight, Timothy, 17, 150
Earle, James, 83n7
Edwards, Charles, 94
Egremont, Earl of, 49
electromagnetism, 114–15, 127n15
Elgin Marbles, 93
Emerson, Ralph Waldo, 173
English Civil War, 56
Enlightenment, 17, 35, 37, 42, 153
envoi, 36
evidence, use of images as, 47, 52–57
exhibitions. See installations and displays, rationale for; single-painting exhibitions
Exposition Universelle (Paris, 1855), 124
facsimile, 71
Fahlman, Betsy, 138, 178–80
Farnese Hercules, 93
Félibien, André, 41–42
Field, George, 152
fine arts. See art and painting
Flemish art, 56
Florentine art, 56
Flower, Elizabeth, 140
Fontaine, Pierre-François-Léonard, 52
foreshortening, 176
Fortier, François Alphonse, 106
Fothergill, John, 65
Francis I, King of France, 89, 159
Franklin, Benjamin, 127n14
Franklin Hall, New Haven, Connecticut, 82
Freemasonry, 151–53
French Revolution, 37, 39, 49, 57, 149, 153
French School, 52, 53, 56
Fulton, Robert, 29, 178
Gainsborough, Thomas, 55
Gale, Leonard, 127n15
Gallery of the Louvre (Morse), 11, 134–36 (details), 139 (detail), 177 (detail)
act of painting, 24–25, 63–64, 78, 81–82, 84n11, 92, 111, 126n4, 170, 186
advertisement of exhibition of, 82, 82
architectural setting depicted in, 24, 35, 42, 78, 128n37, 142–43
catalogue produced for, 25, 69, 70, 71, 81, 113, 193–200
color in, 26–27, 144, 152–53
composition of, 24, 27, 41, 80–81, 133, 134–35, 142, 149
conservation of, 24, 26, 28, 185–89, 186–88
Davis’s Salon Carré compared to, 55–56, 135
description of, 15
educational purpose of, 17, 24, 26, 40, 43, 47, 62–63, 77, 78, 80–83, 106, 117, 121, 137–38, 143
elitism of, 170
exhibitions of, 6, 25, 26, 82, 112
figure painting a landscape in, 44, 116, 136, 154, 176–77, 177 (detail)
figures in, 24–26, 35, 43, 44, 70, 98n16, 99n57, 111, 112–13, 120–23, 135–39, 143–44, 153–54, 159–62, 170, 173–77 (see also self-portrait in)
as a gallery painting, 47–57, 135
geography as model for, 69, 72
invented nature of, 137–38
invention exemplified by, 29
key to, 12–13, 25, 69, 81, 113
light in, 28, 142, 144
materials of, 25, 28, 185–89
mechanical imitation and, 103
memory and, 122–23
models for, 61–73
Morse and Draper’s Still-Life and, 106
Morse’s Lectures in relation to, 21, 26–29, 42, 70, 131, 139–45
narrative in, 70–71
natural history as model for, 63–64, 72
packaging and shipping of, 25, 111, 186
personal nature of, 124–25
promissory note for purchase of, 25
purposes of, 29, 35, 36, 61, 81, 128n37 (see also educational purpose of)
reception of, 6, 17, 25, 35, 43, 77–78, 80–83, 119, 122–23, 164, 169–71, 173
religious meanings in, 149–64
sale of, 25–26, 82, 126n3, 128n35, 170
selection and arrangement of works for, 15–16, 24, 26–28, 41, 42, 62, 65–67, 81, 138
self-portrait in, 25, 35, 96, 120, 135, 135 (detail), 143, 153, 162–63, 170, 181
shortcomings of, 80–81, 119, 122–23, 169–73, 181
signature on, 134 (detail), 135, 144–45
as single-painting exhibition, 77, 118–19
size of, 15, 49, 80, 170, 172
sociocultural context of, 17, 24, 149, 170–71
subject matter and symbolism in, 153–59
telegraphy in relation to, 28, 117, 132–33, 143
and transmission of information, 120–23
viewing of, 142–45
visitors depicted in, 43
Weir’s Gun Foundry compared to, 178–81
westward theme in, 159–63
works depicted in, 26–27, 36, 38, 40, 53, 55, 56, 80, 149, 150, 153–59, 172–73
writing and, 69–72
gallery paintings, 47–57
common visual features of, 55
demise of, 44
educational function of, 51
as historical evidence, 47, 52–57
invented nature of, 52–53, 55, 57
narrative function of, 55–56
national schools depicted in, 53, 55–57
origins of, 47
polemical intentions of, 47–48, 53, 55
popular in Britain, 49–51
of public collections, 50–51
size of, 49
as source for Gallery, 17, 135, 141
substitutional function of, 48
Genesis Creation story, 151–52
genres of painting, 41
geography, 67–69, 71–72
George IV, King of England, 57
Gérard, François, Ossian Evoking Ghosts on the Edge of the Lora, 106
Géricault, Théodore, 38
The Raft of the Medusa, 39, 53, 72, 75n49
Gilmore, Paul, 139–40, 142
Girodet de Roucy-Trioson, Anne-Louis: Deluge, 39
Scene from a Deluge, 53
glazes, 185, 189
Glens Falls, New York, 178
God: America as chosen nation of, 155
art and taste grounded in, 150, 155
benevolence of, 151
Calvinism and, 152
comprehension of the whole by, 145
Newtonian physics and, 152
visual signs of, 149–50. See also Trinitarianism
Gouraud, François, 106
gradation, 27–28
Granet, François-Marius, The Choir of the Capuchin Church in Rome, 80, 80, 84n9, 118, 119, 128n36
Great Awakening, 140. See also Second Great Awakening
Greenough, Horatio, 23, 89, 95–96, 99n57, 126n4
Chanting Cherubs, 96
guidebooks, 71, 81
Gursky, Andreas, German Parliament (Bundestag), 125, 125
Habersham, Richard West, 25, 44, 116, 135, 136 (detail), 154, 176, 177 (detail)
Hare, Robert, 105
Harington, Henry, 152
Hawes, Josiah Johnson, Sculpture Gallery, Boston Athenaeum, 92, 93
Henri II, King of France, 89
Henri IV, King of France, 89
Henry, Joseph, 115, 127n15
Hercules, 158–59, 161, 171–72, 181
Herodotus, 156
Hewins, Amasa, 50
hind, 155, 157
history painting: in America, 78–79
French academic art and, 39, 53
imitation as foundation of, 102
Morse and, 122
Hochfelder, David, 141
Holbein, Hans, 56
Holmes, Oliver Wendell, 67
Hondius, Hendrik, The End Crowns the Work, 131, 132
honey, 151, 153
Houdon, Jean-Antoine, Ecorché (Flayed Man), 94
Humboldt, Alexander von, 63, 126n4
Humiston, Amos, 169
hunting, 67, 95
Huntington, Daniel, 151
Huysmans, Cornelis, 180
Landscape with Shepherds and Herds, 55
imagination, 15, 21, 26, 70, 139, 140, 142
imitation. See copying and imitation; intellectual imitation; mechanical imitation
impedance, 132–33, 138, 144, 145
information: conveyance of distant, 119
Gallery as vehicle for transmission of, 120–23
located vs. unlocated, 112–13, 121–22
memory in relation to, 122–25
telegraphic transmission of, 114–17
Ingres, Jean-Auguste-Dominique, 38
Inman, Henry, 20
inpainting, 187, 189
installations and displays, rationale for, 15–16, 41–42, 54
intellectual imitation, 15, 21, 28, 65, 102, 134–40
Intellectual Machinery, 143
invention: Cooper and, 176, 178
depicted in Gallery, 176–77
Gallery as exemplary of, 29
Morse and, 103–4
in nineteenth-century America, 178
Weir and, 181
Irving, Washington, 94
Islam, 157
Italian art, 36, 56
Italy, 22
Jackson, Andrew, 96, 171
Jackson, Charles Thomas, 114–15, 126n12, 127n19, 134
Jacobinism, 157
Jansenism, 155
Jarvis, John Wesley, James Fenimore Cooper, 23
Jefferson, Thomas, 66, 73n4
Jessop, Thomas, 42
Jesus. See Christ, Jesus
Johnston, Patricia, 51, 137, 149
Jouvenet, Jean, Descent from the Cross, 42, 53, 55, 155, 155, 158
July Monarchy, 23–24
Kames, Lord, 26
Kemble, Gouverneur, 179, 181
King, Charles Bird, 79, 83n57
Kittler, Friedrich A., 132–33
Kloss, William, 138
Kristeller, Paul Oskar, 141
Kunstkammern, 17, 65–66, 70, 135, 141, 172
Lafayette, Marquis de, 21, 94, 98n16, 111, 153
La Font de Saint-Yenne, Etienne, 37
Laocoön, 93, 94, 171
Lawrence, D. H., 174
Lawrence, Thomas, Portrait of Benjamin West, 18, 18
Le Brun, Charles, Battle of the Granicus, 53
Lenoir, Alexandre, 126n4
Leochares, 89
Leonardo da Vinci, 21, 22, 41, 152, 159
Mona Lisa, 27, 38, 159, 162, 173
Virgin of the Rocks, 106
Leopold Wilhelm, Archduke of Austria, 47–48
Le Ray, James, 58n7
Leslie, Charles Robert, 18, 20, 93
Le Sueur, Eustache, 27
Christ Carrying the Cross, 163
Levine, Lawrence W., 141
light, 28, 142, 144, 152. See also chiaroscuro
Linnaean classification, 42, 69, 138
Locke, John, 26, 142
London, art market in, 49
Long, Charles, Baron Farnborough, 57
Lorrain, Claude, 22, 41, 56, 117, 171, 180
Disembarkation of Cleopatra at Tarsus, 27, 62, 161, 162
Sunset at the Harbor, 27, 62
Louis XIV, King of France, 89
Louis XV, King of France, 37
Louis XVI, King of France, 37
Louvre Museum, Paris: and academic study, 36–38
collections of, 38, 39, 128n44
gallery paintings of, 51–57
Grande Galerie, 24, 27, 37, 42, 44, 80–81, 113, 133, 161
installation rationale for, 16, 42
Morse’s selection of works from, 24
opening of, 37, 42–43
Salle de Diane, 89
Salle des Antiques, 89
Salle des Caryatides, 89
Salle des Saisons, 91
Salon Carré, 24, 37, 40–42, 47, 51–57, 89, 113, 120, 138, 160, 163 (see also Salon exhibitions)
visitors’ impressions of, 42. See also Gallery of the Louvre (Morse)
Lowell, Francis Cabot, 177–78
Lowry, Bates, 108n16
Lowry, Isabel, 108n16
Magritte, René, 113
Maillot, Nicolas Sébastien: View of the Salon Carré of the Louvre in 1831, 39, 40, 44, 47, 52 (detail), 52–57, 59n33, 62, 138
Vue du Salon et de l’entrée de la Grande Galerie du Musée Royal, 53
maps, 68–69, 71
Marieschi, Michele Giovanni, 56
Martini, Pietro Antonio, View of the Salon of 1785, 39
Mary, Virgin, 95, 156
Mayer, Lance, 24
McClellan, Andrew, 34
McCullough, David, 73n4, 96, 99n57
mechanical imitation, 15, 65, 71, 101–7, 117–18, 134–39
Medici Venus, 91
memento mori, 72
memory, 122–25
merchant-marine signaling, 115
Mesmerism, 134
Michelangelo, 19, 152, 171
Mignard, Pierre, Madonna and Child, 156
millennialism, 17
Milton, John, Paradise Lost, 149
Mississippi River, 162
Monks, Sarah, 143
Moody, Paul, 177–78
Morse, Charles (son), 20
Morse, Edward Lind (son), 141
Morse, Elizabeth Ann Finley Breese (mother), 17
Morse, Finley (son), 21
Morse, Jedidiah (father), 17
and geography, 67–69, 71–72, 143, 156
religious beliefs of, 140, 149, 150, 153, 157–59, 162, 163
Morse, Lucretia Pickering Walker (wife), 15, 19, 20, 21, 72
Morse, Richard (brother), 82
Morse, Samuel F. B., 16
and artistic theory and practice, 15–16, 18, 21–22, 26–29, 35, 40, 42, 63, 78, 139–45
conservatism of, 17, 138, 170–71, 174
cultural attitudes of, 17
death of, 181
Descriptive Catalogue of the Pictures, 25, 69, 71, 81, 113, 193–200
diverse interests and activities of, 16–17, 29, 101, 107, 140
Dying Hercules, 18–19, 21, 94, 158, 171–72, 171, 176
early career of, 17–21
European study tours of, 15, 22–23
Foreign Conspiracy against the Liberties of the United States, 17
Francis I, Study for “Gallery of the Louvre,” 24
George Clarke, 25
The House of Representatives, 19–20, 20, 24, 77, 83n1, 103, 119, 120 (detail), 121–22, 125, 128n36, 129n53, 132, 137, 142
John William Draper, 104
Joseph Gales, 137, 137
The Judgment of Jupiter, 94
Landscape Composition: Helicon and Aganippe (Allegorical Landscape of New York University), 132, 133
Lectures on the Affinity of Painting with the Other Fine Arts, 15, 21–22, 26–29, 42, 63, 67, 70, 101, 102, 105, 115, 117, 120, 131, 134, 139–45, 152, 175
List of Commissions, 22
and the Louvre, 35–44
Miracle of Saint Mark, 22, 23
The Morse Family, 68, 68, 143
Page from his Sully sketchbook with his first plans for the telegraph and numerical code, 116, 117
painting abandoned by, 6, 44, 78, 107, 123, 129n53, 131, 170
Pencil sketch, in reverse, of Titian’s Francis I, 103, 103
and photography, 44, 67, 101–2, 104–7, 112, 117, 122, 151
political writings of, 138
as portrait painter, 19–21, 54
Portrait of Mrs. Morse and Two Children, 20, 21
and religion, 17, 24, 138–39, 149–64
religious beliefs of, 145n4
and sculpture, 89, 93–96, 98n27, 102
Sketch for electromagnet, 114, 115
Sketch of Beatrice Cenci, 23
sociocultural context of, 16–17, 19
Still-Life, 101, 105–7, 105, 107 (detail), 108n16
Study for The Old House of Representatives, 102, 103
summer home of, 179–80. See also Gallery of the Louvre (Morse)
Morse, Sidney (brother), 101, 107
Morse, Susan (daughter), 20
Morse code, 115, 116, 127n19, 132
Murillo, Bartholomé Estebán, 22, 41, 117, 171
Beggar Boy, 28, 150, 150, 185
Holy Family, 138, 157–58, 157, 160, 162
Immaculate Conception, 38
Murphey, Murray G., 140
Musée de Luxembourg, 39
music, 155
Mütter, Thomas Dent, 66
Myers, Gay, 24
mystery, 28
NAD. See National Academy of Design
narrative, 55–56, 70–71
National Academy of Design (NAD): establishment of, 16, 19, 21, 77, 78, 94, 138, 141
exhibition philosophy of, 83n4
instructional function of, 23, 40
Morse and, 15, 19, 21–23, 24, 77, 78, 94, 141
Morse’s lecture on photography at, 104–5
Morse works in, 103
plaster casts used by, 92–95
Royal Academy of Arts as model for, 141
Thorvaldsen sculptures in, 96
Weir in, 179
National Gallery, London, 51, 57
nationalism, 17, 57, 135, 140, 141, 149
national schools of art, 36, 39–42, 47, 53, 55–57
natural history, 61–67, 72. See also Linnean classification
nature: imitation of, 15, 102, 121
improvements on, by art and technology, 120–22, 143
photography and, 151
study and interpretation of, 61–64
Naval Gallery, Greenwich, 54
navy signal books, 115, 116
Netherlandish art, 49
Netherlands, 47
New-England Galaxy and Masonic Magazine, 152
Newton, Isaac, Opticks, 152
New York Athenaeum, 15, 21, 115
New York Commercial Advertiser (newspaper), 80, 82, 82
New-York Drawing Association, 94
New York Evening Post (newspaper), 82
New York Times (newspaper), 182
Northern art, 56
Oakley, Violet, 72
old master paintings: American places compared to, 169
chiaroscuro in, 174–76
Cooper and, 174–78
copies of, 22, 35–36, 38, 117
exhibitions of, 82, 83n4
foreshortening in, 176
in Gallery, 169
Gallery’s treatment of, 171–73
imitation of appearance of, 25, 28
materials of, 185, 189
Morse’s attitude toward, 171–72
pathos in, 169, 178
religious meanings in, 149–64
as standard of taste, 18, 38, 40, 44, 117
value of, for American artists, 15, 29, 35. 77, 79–80, 117
Weir and, 178–82, 181
optical telegraphy, 115–17
Osborn, Laughton, Handbook of Young Artists and Amateurs in Oilpainting, 189
Ovid, 158, 162
Palais du Luxembourg, 37, 41
Panini, Giovanni Paolo, 48–49, 58n7
Picture Gallery with Views of Modern Rome, 48, 48
Panopticon, 134
panoramas, 29, 119
pantheism, 157
Papal States, 38
Paracelsus, 151
Parker, John R., Cover for The New Semaphore Signal Book, 116
Parmigianino, 106, 108n17
Parrott, Mary Kemble, 179
Parrott, Robert Parker, 178–79, 181
part-whole relationship, 134–35, 144, 145
Pasmore, John, II, Benjamin West’s Gallery, 50, 51
patenting, of the telegraph, 114–15, 127n14, 138, 141
patronage, 57
Paul IV, Pope, 89
Paul, John Dean, 42
Paul, Saint, 156
Peale, Charles Willson, 65, 73
The Artist in His Museum, 61–63, 62, 141–42
The Long Room—Interior of Front Room in Peale’s Museum, 62, 62, 66
Peale, Rembrandt, 21, 71, 79, 81, 83n8, 185
The Court of Death, 20, 79, 79, 83n8
Peale, Titian Ramsay, The Long RoomInterior of Front Room in Peale’s Museum, 62, 62, 66
Pell, John, 115
perception, 26–27, 142–45
Perino del Vaga, 106, 108n17
photography: and classification of images, 67
as competition for copies of paintings, 44
direct-positive method of, 106
Morse and, 44, 101–2, 112
and proto-photography, 101–2, 104, 108n3, 112, 122. See also camera obscura; daguerreotypes
physiognomy, 150
picturesque, the, 71
Piroli, Thomas, 91, 92
Diane, 91, 93
piston-pump, 101
plaster casts, 92–95
Pohrt, Tanya, 57
poison, 151
pope, 17
Portrait of a Young Man (variously attributed), 106, 108n17
portraiture, Morse’s practice of, 19–21, 54
postcards, 44, 44
Pouillet, Claude, 127n18
Poussin, Nicolas, 22, 41, 56, 117
Deluge (Winter), 158
power looms, 177–78
prints, 117–18, 128n29
Protestantism, 149–50, 157–59. See also Calvinism; Puritanism
proto-photography, 101–2, 104, 108n3, 112, 122
Puritanism, 140, 149, 155
rainbows, 152
Ramus, Petrus, 145n4
Raphael, 19, 22, 41, 56, 106, 117, 152
La Belle Jardinière, 173
Madonna and Child with the Infant Saint John the Baptist, 27
Raphael (archangel), 149–50, 160
reading, 71
Realism, 124
réanimation, 19
relationality, 27
religion: America as God’s chosen nation, 155
Calvinism, 17, 140, 149, 151, 152, 155, 157–59, 170
Catholic Church, 17, 24, 95, 138, 149, 155, 157, 163
Christ, 149–51, 153–60, 162–64
God, 145, 149–52, 155
Jedidiah Morse and, 140, 149, 150, 153, 157–59, 162, 163
Protestantism, 149–50, 157–59
Puritanism, 140, 149
Samuel Morse and, 17, 24, 138–39, 149–64
Trinitarianism, 138, 149, 151, 152, 157–59
unorthodox views in, 157
Rembrandt van Rijn, 41, 56
The Angel Leaving the Family of Tobias, 55, 111, 126n1, 126n4, 149–50, 160, 174, 175, 176, 178
Christ Preaching, 179, 181
Head of an Old Man, 27, 185
The Holy Family, 175
The Presentation in the Temple in the Dark Manner, 175, 175
The Tribute Money, 175, 175, 176
Remps, Domenico, Cabinet of Curiosities, 65
Renaissance art, 18, 36, 39–40
Reni, Guido, 41, 171
Deianeira Abducted by the Centaur Nessus, 158–59, 172, 172
Union of Design and Color, 153, 153
resemblance, 27
Reynolds, Joshua, 15, 29, 36, 55, 117, 139–40, 154
Discourses on Art, 18, 21, 35, 134
Ringe, Donald A., 174
Rives, William Cabell, 98n16, 111, 114
Robert, Hubert: Draftsman in an Italian Church, 36
Project for the Grand Gallery of the Louvre, 37, 37, 43, 62, 142
La Salle des Saisons du Louvre, 91
View of the Grande Galerie of the Louvre, 50, 51, 55, 62, 142
Roberts, Jennifer L., 128n29, 138
Rococo, 37
Roman (modern) art, 56
Rome, French academy in, 36
Rosa, Salvator, 22, 116, 136, 180
Landscape with Soldiers and Hunters, 28
Royal Academy of Arts, 18, 21, 93, 94, 134, 141
Royal Society of Arts, 94
Rubens, Peter Paul, 41, 56, 117
Hélène Fourment and Her Children, 56
Portrait of Suzanne Fourment, 27, 173
Tomyris, Queen of the Scyths, 26, 156–57, 156
Tournament at the Château de Steen, 56
sacralization, 141–42
Salisbury, Stephen, 22
Salon exhibitions, 37, 39, 52
Samuel Morse (1/91–18/2) on Board the Cruise Ship Sully (engraving), 112
Sartre, Jean-Paul, 133–34
Schulten, Susan, 69
science, art in relation to, 139–42, 145n4
Scott, Walter, 177
Scottish Common Sense School, 142
sculpture: and friendship of Greenough, Cooper, and Morse, 95–96
in Gallery, 89, 92–93, 95, 96
Morse and, 89, 93–96, 98n27, 102
Sebastian, Saint, 163
Second Great Awakening, 145n4, 149, 170
Séguier, Armand Pierre, 106
semaphore telegraph system, 115–17
Shelley, Mary, Frankenstein, 19
Silliman, Benjamin, 17, 21, 29, 101–2, 112, 127n15
Silverman, Kenneth, 131
single-painting exhibitions, 77–83
art training and, 78
audience reception of, 29, 79–80, 83
copies used in, 118, 119
emergence of, 78–79
Gallery of the Louvre, 25, 77, 82–83, 118–19
The House of Representatives, 20, 77, 83n1
preparations for, 82
venues for, 83n7
sketches, 22–24
slavery, 138
Smibert, John, Bermuda Group (Dean George Berkeley and His Entourage), 150
social change, telegraphy and, 141
Song of Solomon, 155
soul, the, 150
South Carolina Academy of Fine Arts, 19, 78
Southworth, Albert Sands, Sculpture Gallery, Boston Athenaeum, 92, 93
Spanish art, 36, 56
Staiti, Paul, 17, 51, 52, 71, 94, 103, 131, 132, 135, 136, 137, 143, 149, 170, 171
steam engine, 28, 140
Still-life painting, 41
Struth, Thomas, Louvre III, 125, 125
Sturgeon, William, 127n15
suavitas (sweetness), 153
Sully (ship), 111, 111, 114, 115
Sully, Thomas, 21, 79, 83n7, 186, 189
copy of Granet’s The Choir of the Capuchin Church in Rome, 118, 119
Passage of the Delaware, 80
Syracuse University, 26
Talbot, William Henry Fox, 106
The Talisman (annual), 117
taste: contemporary artists’ position vis-a-vis, 44
God as foundation of, 150
Morse’s desire to elevate American, 17, 19, 40, 43, 77, 106–7, 117
standards of, 40, 41, 44, 117, 142
Tatham, David, 44, 58n1, 99n57
taxidermy, 67
Technologia, 131, 140–41, 145n4
technology: in American culture, 16, 131, 140–41
art in relation to, 131, 139–42, 145n4
copying and imitation in, 177–78
Morse and, 101, 103–4, 140
nature improved upon by, 120–22
telegraph, 16
appearance of, 132
“Canvas Stretcher” telegraph, 28, 131–32, 132
communication through art compared to, 120–22
expectations for success of, 103
Gallery in relation to, 28, 117, 132–33, 143
materials of, 28
mechanical imitation in, 101
Morse’s work on, 104, 114, 127n14, 131–32
nervous system metaphor applied to, 134
painting in relation to, 131–34
patenting of, 114–15, 127n14, 138, 141
promotion of, 104, 134
social change in relation to, 141
transmission of information by, 114–17, 123, 129n51
Teniers, David, II, 47–49
Archduke Leopold Wilhelm in His Picture Gallery, 47, 48, 49, 135
The Knife Grinder, 158
Theatrum Pictorium, 47, 48
Terra, Daniel J., 26
Terra Foundation for American Art, 26
Thorvaldsen, Bertel, 96
Tintoretto, Jacopo, 117
Miracle of Saint Mark, 22
Self-Portrait, 27, 158
Titian, 19, 22, 26, 117, 154
Christ Crowned with Thorns, 55, 158
Entombment, 38, 55, 56
Fête Champêtre, 56
Francis I, 24, 27, 103, 125, 138, 159, 159, 172
Supper at Emmaus, 55, 56, 125, 160, 160, 162, 164
touring paintings. See single-painting exhibitions
tradition, 35, 44
Trajan’s Column, 94
travel, knowledge acquisition through, 65, 71. See also guidebooks
Trinitarianism, 138, 149, 151, 152, 157–59
Trumbull, John, 18, 20, 94
Declaration of Independence, 78
uniformity, 27
Unitarianism, 152, 157–59
United States. See American art and culture
useful arts. See technology
ut pictura poesis, 70
Vail, Alfred, 106
Vanderlyn, John, 21, 79, 80, 83n7, 94, 119
Van Dyck, Anthony, 56
Charles I, 41, 56, 57
Portrait of a Lady and Her Daughter, 26, 27
Portrait of a Man in Black, 27
Venus at the Forge of Vulcan, 26, 161
Van Rensselaer, Stephen, III, 152, 153
variation, 27
varnishes, 185–87
Vasari, Giorgio, 40
Vatican, 22
Venetian painting, 41, 56, 154
Venus de Milo, 91
Vernet, Joseph, 41
Marine View by Moonlight, 155
Veronese, Paolo, 22, 27
Christ Carrying the Cross, 24, 55, 163
Wedding Feast at Cana, 26, 38, 53, 55, 135, 153–55, 154, 157, 158
Verrazano, Giovanni da, 159
Vigée-LeBrun, Elisabeth Louise, 106
Virgil, 161
Virgin Mary, 95, 156
Walker, Charles (brother-in-law), 22
Wallach, Alan, 141
Walpole, Horace, 56
Warren, Emily Chase, 179
Warren, Gouverneur Kemble, 179
Warren, Joseph, 153
Washington, George, 96
Watteau, Jean-Antoine, 56
Wedgwood, Josiah, 92
Wedgwood, Thomas, 102
Weir, John Ferguson, 178–82, 183n41
An Artist’s Studio, 138, 179, 180
The Gun Foundry, 178–82, 179
Weir, Robert Walter, 178, 179, 181
West, Benjamin, 15, 18, 18, 21, 29, 51, 94, 149, 164
Whitman, Walt, 181
William IV, King of England, 57
Willis, Nathaniel Parker, 126n4
Wingendorp, G., Musei Wormiani Historia, 66, 66
Witherington, William Frederick, A Modern Picture Gallery, 53
Worm, Ole, 66, 70
writing, 69–72
Zoffany, Johann, The Tribuna of the Uffizi, 49–50, 49, 135, 141