| Sauce Pots |  | Paul Revere (Jr.)
1770s; The pre-war years was the first period of Revere's silverwork (which he did alongside selling a variety of other things in his store): more creative and varied than his later work, influenced by the European style. |
| Teapot |  | Paul Revere
1770s; This is from his later period, post-war. It abandons all the special curls of the Rococo style and becomes cleaner and more absolute in design, more standardized, what is called neo-Classical. |
| Teapot |  | Paul Revere
1770s; Contrast this more ornate and luxuriously curved teapot to the other one. This is his earlier period, described as curvilinear Rococo style. More individual time is put into the crafting of the silver. |
| George Washington, 1796 |  | Gilbert Stuart--
Competitor of Charles Peale (see below). Stuart was wealthy, famous, irresponsible, often drunk, and painted only the rich. He made several portraits of Washington and then made copies of these for $100 colonial each. |
| Penn's Treaty with the Indians, 1771 |  | Benjamin West
Taught that too many details spoil a painting's glory, West instead painted details like no other. His characters and scene are free, but the clothing is precise. History as art. |
| Portrait of James Pitts, 1757 |  | Joseph Blackburn
Blackburn was an immigrant from England who painted portraits of wealthy merchants like Pitts, a Harvard graduate. Still fairly British rococo in style. At DIA. |
| Death on the Pale Horse, 1796 |  | Benjamin West
In addition to his fame, West taught the following artists on this page: Charles Wilson Peale, Rembrandt Peale, Gilbert Stuart, Thomas Sully, and Samuel Morse. |
| Paul Revere, 1768-70 |  | John Singleton Copley
In his 30s, Revere is like America: thinking, edgy, challenging.
Copley's half-brother accused Revere of plagiarizing his engravings of the Boston Massacre; Copley could stand no more of the melodrama and sailed for Europe. |
| Watson and the Shark, 1778 |  | John Singleton Copley
A romantic painting of a real story: horror on canvas. Contrast to Homer's "Gulf Stream" painting on the seeming inevitability of the outcome. Historically, Watson--who chose to go swimming--survived but earned a pegleg. At DIA. |
| Death of General Wolfe, 1770 |  | Benjamin West
West's first attempt at history through art. This is more traditional: death surrounded by passive groups of mourners. Contrast to "Penn's Treaty." |
| James Peale Painting a Miniature, 1795 |  | Charles Wilson Peale |
| Portait of James Peale (The Lamplight Portrait), 1822 |  | Charles Wilson Peale
Peale taught painting to many of his family. This is of his brother James who himself painted miniatures. The one in his hand is of his niece (which itself was painted by Charles' daughter, Anna). Many family connections! At DIA. |
| Torn Hat, 1820 |  | Thomas Sully
Painting of his son, but in an age of portraits, this is very informal! Note the contrast between the angelic face and the mystery of how the hat got torn--almost a story here. The boy is off-center, suggesting movement. |
| The Artist in His Museum, 1822 |  | Charles Wilson Peale
Painter, inventor, dentist, machinist, chemist--there wasn't much he wouldn't try (mostly because he was often poor and needed to find some way to make money). Founded Pennsylvania Academy of Fine Arts. |
| The Court of Death, 1820 |  | Rembrandt Peale
Neo-classical movement; son of Charles Wilson Peale.
Meant to be a moral statement of his day. Death at the center, War to his left tramples over bodies. Sinners on Death's right. At DIA. |
| Stained Glass, 1656 |  | Evert Duyckinck
One of the earliest surviving pieces of American stained glass, commissioned by Jan Baptist Van Rensselaer, director of a large colonial estate (Rensselaerwyc) around Albany, New York. |
| Mrs. Pierre Bacot, c.1708 |  | Henrietta Johnston
Johnston came to America in 1708 with her three children; her husband missed the boat (truly!), and so she now had no way to support herself, but for painting. Called America's first painter! |