Gallery 26C

Isaac and William were descendants of John Hand, who emigrated from England to Lynn, Massachusetts, in 1635. Both sons were born in Lynn, and this double portrait celebrates the joys of childhood in early America. While many early American portraits of children included toys, Prior depicted the Hand brothers and their kite and drum with particular delight. The landscape view, with its brushy, highlighted trees and pink sunset sky, is characteristic of Prior’s portrait commissions.

Isaac and William were descendants of John Hand, who emigrated from England to Lynn, Massachusetts, in 1635. Both sons were born in Lynn, and this double portrait celebrates the joys of childhood in early America. While many early American portraits of children included toys, Prior depicted the Hand brothers and their kite and drum with particular delight. The landscape view, with its brushy, highlighted trees and pink sunset sky, is characteristic of Prior’s portrait commissions.

Miller’s portraits of children share some common attributes, such as large, almond-shaped eyes, individually painted eyelashes, meticulously rendered clothing details, and full, pink cheeks. His flesh tones feature shades of blue, which he probably used to prime his canvases. In this painting, a young boy looks up from his picture book to meet the viewer’s gaze; his puppy appears to have just jumped up, perhaps excited by the viewer entering the scene to meet them.

Miller’s portraits of children share some common attributes, such as large, almond-shaped eyes, individually painted eyelashes, meticulously rendered clothing details, and full, pink cheeks. His flesh tones feature shades of blue, which he probably used to prime his canvases. In this painting, a young boy looks up from his picture book to meet the viewer’s gaze; his puppy appears to have just jumped up, perhaps excited by the viewer entering the scene to meet them.

Miller’s portraits of children share some common attributes, such as large, almond-shaped eyes, individually painted eyelashes, meticulously rendered clothing details, and full, pink cheeks. His flesh tones feature shades of blue, which he probably used to prime his canvases. In this painting, a young girl pauses in the middle of picking pink roses from a potted bush. Her minimally modeled forearms, stylized flowers, and carefully depicted cotton pantalettes are hallmarks of Miller’s artistic style.

Miller’s portraits of children share some common attributes, such as large, almond-shaped eyes, individually painted eyelashes, meticulously rendered clothing details, and full, pink cheeks. His flesh tones feature shades of blue, which he probably used to prime his canvases. In this painting, a young girl pauses in the middle of picking pink roses from a potted bush. Her minimally modeled forearms, stylized flowers, and carefully depicted cotton pantalettes are hallmarks of Miller’s artistic style.

This painting is closely related to Albert Bierstadt’s A Storm in the Rocky Mountains, Mt. Rosalie (Brooklyn Museum), which was inspired by drawings that artist made on a western expedition in 1863. The original painting traveled the country, and its popularity grew through the distribution of prints made after the original. The unknown painter of this work, who is identified only by the signature on the back of the canvas, almost certainly looked at a print copy for inspiration.

This painting is closely related to Albert Bierstadt’s A Storm in the Rocky Mountains, Mt. Rosalie (Brooklyn Museum), which was inspired by drawings that artist made on a western expedition in 1863. The original painting traveled the country, and its popularity grew through the distribution of prints made after the original. The unknown painter of this work, who is identified only by the signature on the back of the canvas, almost certainly looked at a print copy for inspiration.

This portrait was modeled after Gilbert Stuart’s 1796 portrait of George Washington, which Prior was permitted to copy in 1850. He then made numerous reverse-glass paintings based on the copy. This portrait provides contemporary museum visitors with an example of American reverse-glass painting (which was also popular on decorative arts objects, such as mirrors and clocks) and of the commercial ingenuity of American portrait painters working in the mid-19th century.

This portrait was modeled after Gilbert Stuart’s 1796 portrait of George Washington, which Prior was permitted to copy in 1850. He then made numerous reverse-glass paintings based on the copy. This portrait provides contemporary museum visitors with an example of American reverse-glass painting (which was also popular on decorative arts objects, such as mirrors and clocks) and of the commercial ingenuity of American portrait painters working in the mid-19th century.