John Brown's grave and other Civil War themes in William T. Richards's Adirondack landscapes

(12.) Crayon, vol. 8. no. 5 (May 1861), p. 120, cited in Lucretia Hoover Giese, "Harvesting' the Civil War: Art in Wartime New York," in Redefining American History Painting, ed. Patricia M. Burnham and Lucretia Hoover Giese (Cambridge University Press, New York, 1995), p.64.

(13.) For Stillman, see Richard Dort Bullock, William James Stillman: The Early Years (University Microfilms, Ann Arbor; Michigan, 1986); Linda S. Ferber, "The Clearest Lens': William J. Stillman and American Landscape Painting," in Anne Ehrenkranz et al., Poetic Localities: Photographs of Adirondacks, Cambridge, Crete, Italy. Athens [by] William J. Stillman (International Center of Photography in association with Aperture, New York, 1988), pp. 91-102. Bullock suggested that the painting was by Stillman in a letter of August 8, 1979, in the files of the Pennsylvania Academy of the Fine Arts in Philadelphia. Subsequent conversations and correspondence with me have led Bullock to support the attribution of the painting to Richards. I am grateful to Bullock for his advice and interest in this matter. Research on the Civil War subject matter of the painting in the registrar's files in the academy was compiled by Elaine J. Corcordas. My thanks to Cheryl Leibold, the museum's archivist, and Gale Rawson, the museum' s registrar; for their assistance in establishing the attribution of the painting.

(14.) Ferber, "The Clearest Lens'." p. 101.

(15.) Our Banner in the Sky, painted by Frederic Edwin Church in 1861 (Terra Museum of American Art. Chicago), was also produced in the context of the wartime flag fever: See Doreen Bolger Burke, "Frederic Edwin Church and The Banner of Dawn'," American Art Journal, vol. 14, no. 2 (1982), pp.39-46; Redefining American History Painting p. 69; and Gerald L. Carr, Frederic Edwin Church: Catalogue Raisonne of Works at Olana State Historic Site (Cambridge University Press, New York, 1994), vol. 1, pp. 275-279.

(16.) For Lambdin, see Ruth Irwin Weidner, George Cochran Lambdin, 1830-1896 (Brandywine River Museum, Chadds Ford, Pennsylvania, 1986).

(17.) William T. Richards, Germantown, to George C. Lambdin, n.d. (Ferdinand J. Dreer collection, Historical Society of Pennsylvania, Philadelphia).

(18.) Weidner; George Cochran Lambdin, p. 18.

(19.) Frederic Edwin Church (1826-1900), for example, hastily appended a prefix title--The North--to his acclaimed The Icebergs (Dallas Museum of Art), a huge arctic landscape that made its public debut just as the war began. See Gerald L. Carr; Frederic Edwin Church, The Icebergs (Dallas Museum of Fine Arts, Dallas, 1980), p. 80ff.

(20.) Ila Weiss, Poetic Landscape: The Art and Experience of Sanford R. Gifford (University of Delaware Press, Newark, and Associated University Presses, Cranbury, New Jersey, 1987), pp. 98-99, 226-229; Robert L. McGrath, "Facing North and East: The Ideology of the Gaze," in Scenes of Placid Lake... (Fine Arts Gallery, Lake Placid Center for the Arts, Lake Placid, New York, 1993).

(21.) Ferber; William Trost Richards: American Landscape and Marine Painter; p.26, cites Richards's letter of October 1862 inviting both Farrer and Avery to visit him and his wife in Germantown. Ferber and Gerdts, The New Path, pp. 16-20 and n. 34, mentions Avery's participation in the circle although he was never a formal member of the Association for the Advancement of Truth in Art.