Washington Crossing the Delaware: Restoring an American by Carrie Rebora Barratt, Lance Mayer, Gay Myers, Eli Wilner,

By Carrie Rebora Barratt, Lance Mayer, Gay Myers, Eli Wilner, Suzanne Smeaton

Emanuel Leutze's life-size Washington Crossing the Delaware commemorates the serious second within the American Revolution whilst George Washington led a shock assault opposed to troops assisting the British forces in Trenton. while Leutze created the portray in 1850, after he had again from the US to his local Germany, he hoped to rally help for the progressive routine then sweeping Europe. He despatched the paintings to big apple in 1851, and inside of 4 months 50,000 humans had paid to determine it. this present day the portray is an icon of yank visible tradition and probably the most liked items within the Metropolitan Museum of Art. 

In 2007, Leutze's masterpiece grew to become the point of interest of the main formidable conservation and reframing undertaking within the museum's historical past. This book is a behind-the-scenes report on that venture, prefaced via an account of the background of the painting's acquisition and show on the museum.

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Extra resources for Washington Crossing the Delaware: Restoring an American Masterpiece, Metropolitan Museum of Art Bulletin

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1 474 reproduces only the self-portrait. It will be discussed in a forthcoming book on Cezanne's drawings by Prof. Wayne Andersen. Note also in Berthold no. 290, a drawing i n the Albertina, Vienna, a putto mounted on a centaur above three large apples; below, inverted, is the same striding nude figure as in the Clark drawing. 33 Venturi no . 551 . , no. 550. , in catalogue description of no. 551 . 3 6 I may note here as relevant to the symbolism of the apple that the identifica­ tion of the tree of knowledge in Genesis, chap .

The view of the mature Cezanne as an artist who saw in the objects he painted only a plastic problem, disregarding and even neu­ tralizing their meaning or natural charm, is not borne out then alto­ gether by his practice or his comment in letters and conversation. He wrote admiringly of the landscapes of his native Provence, which he represented in his pictures with a verifiable fidelity to their objects and their enchanting aspect. And in studying the old paintings and sculp­ tures in the Louvre he chose to copy mainly figures of nobility, beauty and pathos.

93 In one he renounces woman by mocking her cult, in the other he identifies himself and several of his fellow-painters with the great romantic master. In picturing De1acroix as his god, Cezanne satisfied his youthful taste for an imagery of love and death but also his devotion to paint­ ing as an art of color with a noble order. On the back of a watercolor sketch for the Apotheosis of Delacroix are some verses by Cezanne describing a beautiful nude : "Voici la jeune femme aux fesses rebon­ dies .

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