Carole's World

Stuffz
philamuseum:

Happy birthday to the forefather of American political cartoons, Thomas Nast. Nast’s commentaries often used Uncle Sam’s image to represent the American government, which helped make his image so popular and led to costumes like this one.Man’s Uncle Sam Costume: Coat, Trousers and Waistcoat; early 20th century; United States

philamuseum:

Happy birthday to the forefather of American political cartoons, Thomas Nast. Nast’s commentaries often used Uncle Sam’s image to represent the American government, which helped make his image so popular and led to costumes like this one.

Man’s Uncle Sam Costume: Coat, Trousers and Waistcoat; early 20th century; United States

philamuseum:

Photographer Alfred Stieglitz helped found American Modern art by tirelessly promoting artists like John Marin, Georgia O’Keeffe, Arthur Dove, and Charles Demuth at his legendary New York City gallery, 291. See how these artists, known as the Stieglitz Circle, wedded European modernism’s innovations to distinctly American subjects in our newest gallery installation.”Narcissus,” 1916, by Charles Demuth

philamuseum:

Photographer Alfred Stieglitz helped found American Modern art by tirelessly promoting artists like John Marin, Georgia O’Keeffe, Arthur Dove, and Charles Demuth at his legendary New York City gallery, 291. See how these artists, known as the Stieglitz Circle, wedded European modernism’s innovations to distinctly American subjects in our newest gallery installation.

Narcissus,” 1916, by Charles Demuth

aleyma:

Charles Willson Peale, Portrait of Yarrow Mamout (Muhammad Yaro), 1819 (source).

Yarrow Mamout, an African American Muslim who won his freedom from slavery, was reputedly 140 years old in 1819, when Charles Willson Peale painted this portrait for display in his Philadelphia Museum. Although Peale learned this was a miscalculation, the story of eight-three-year-old Yarrow (c.1736-1823), a native of the West African country of Guinea who was literate in Arabic, was still remarkable. As Peale noted, Yarrow was “comfortable in his Situation having Bank stock and [he] lived in his own house.”
A rare representation of ethnic and religious diversity in early America, and an outstanding example of Peale’s late naturalistic style, the picture is distinguished by the direct and sympathetic encounter between the artist and his subject and the skilled rendering of the details of physiognomy and age. Yarrow’s knit cap suggests a kufi, a hat traditionally worm by African Muslim men to assert their religion or African identity, but Peale artfully employs its yellow band to highlight his steady gaze with its glint of humor and wisdom.
Seventy-seven years old when he created this portrait, Peale was seeking a record of the personal traits he believed supported a long life. In his writings and museum displays Peale celebrated making wise choices to maintain good health and a positive attitude, and he perceived Yarrow’s perseverance through his difficult life as a model of resourcefulness, industriousness, sobriety, and an unwillingness to become dispirited. - from the Philadelphia Museum description

aleyma:

Charles Willson Peale, Portrait of Yarrow Mamout (Muhammad Yaro), 1819 (source).

Yarrow Mamout, an African American Muslim who won his freedom from slavery, was reputedly 140 years old in 1819, when Charles Willson Peale painted this portrait for display in his Philadelphia Museum. Although Peale learned this was a miscalculation, the story of eight-three-year-old Yarrow (c.1736-1823), a native of the West African country of Guinea who was literate in Arabic, was still remarkable. As Peale noted, Yarrow was “comfortable in his Situation having Bank stock and [he] lived in his own house.”

A rare representation of ethnic and religious diversity in early America, and an outstanding example of Peale’s late naturalistic style, the picture is distinguished by the direct and sympathetic encounter between the artist and his subject and the skilled rendering of the details of physiognomy and age. Yarrow’s knit cap suggests a kufi, a hat traditionally worm by African Muslim men to assert their religion or African identity, but Peale artfully employs its yellow band to highlight his steady gaze with its glint of humor and wisdom.

Seventy-seven years old when he created this portrait, Peale was seeking a record of the personal traits he believed supported a long life. In his writings and museum displays Peale celebrated making wise choices to maintain good health and a positive attitude, and he perceived Yarrow’s perseverance through his difficult life as a model of resourcefulness, industriousness, sobriety, and an unwillingness to become dispirited. - from the Philadelphia Museum description

philamuseum:

Happy birthday to one of America’s greatest Realists, Thomas Eakins. You may already be familiar with him, but did you know that his wife, Susan, was also an accomplished painter? This intimate portrait of Thomas was painted by his wife and is believed to have been based on a photograph of him working. “Portrait of Thomas Eakins,” c. 1920–25, by Susan Macdowell Eakins

philamuseum:

Happy birthday to one of America’s greatest Realists, Thomas Eakins. You may already be familiar with him, but did you know that his wife, Susan, was also an accomplished painter? This intimate portrait of Thomas was painted by his wife and is believed to have been based on a photograph of him working.

Portrait of Thomas Eakins,” c. 1920–25, by Susan Macdowell Eakins

Amazing Face-Paintings Transform Models Into The 3D Works Of Famous Artists

by  Valeriya Kutsan

(Source: jedavu, via absoluterumpage)