The Italian Presence in American Art, 1860-1920

By Irma B. Jaffe | Go to book overview
139. Jervis McEntee, The Ruins of Caesar's Palace (Temple of Jupiter Anxur at Terracura), ca. 1868. Oil on canvas, 24⅛ × 40⅛″. The Pennsylvania Academy of the Fine Arts, Philadelphia.

curred in the Tenth Street Studios. 31 Church, the primary author, is seated; McEntee, the painter of the background Colosseum is standing with Healy who was responsible for the figures; American poet Henry Wadsworth Longfellow and his daughter are beneath the arch. 32 Completed in 1871, this picture of Americans by Americans in Rome is emblematic of the old boy network there and its concomitant insularity.


NOTES
1.
Archive of Olana State Historic Site, Hudson, N.Y.
2.
A. Blaugrund, "The Tenth Street Studio Building: A Roster, 1857-1895," The American Art Journal, XIV, No. 2, Spring 1982, 64-71.
3.
B. Taylor, Life and Letters, eds. Marie Hansen- Taylor and Horace E. Scudder, Boston, 1884, II, 490-491.
4.
D. M. Armstrong, Day Before Yesterday. Reminiscences of a Varied Life, New York, 1920, 193.
5.
Ultimately, of course, differing attitudes toward nature precipitated more sweeping alterations in landscape painting, involving not only a change of scenery but a change in style.
6.
I am grateful to Nancy Anderson, Assistant Curator of American Art, National Gallery of Art, Washington, D.C., for providing this information.
7.
G. Hendricks, Albert Bierstadt, Painter of the American West, New York, 1973, 182.
8.
Archives of American Art, Roll 1478, frame 871.
9.
Plate 134, the second and largest in the series of paintings Read did of Sheridan, was commissioned by the Union League Club of Philadelphia and exhibited at the Pennsylvannia Academy of the Fine Arts in 1870. The first portrait of Sheridan, painted in New Orleans in 1867, is unlocated. Between 1870 and 1871

-238-

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