COLLECTION NAME:
Visual Resources Teaching Collection
mediaCollectionId
ArtArtHiAAH~7~7
Visual Resources Teaching Collection
Collection
true
Image Record ID:
aahi0000058
image_record_id
aahi0000058
Image Record ID
false
Work Title (display):
Gaius Marius Amidst Ruins of Carthage
Work Title notes (display):
LCNAF prefers Gaius; Scholars Resource cites Caius
Image Title:
full view
Work Dates (display):
1807
Work Dates type:
creation
Work Creator (display):
John Vanderlyn (American, 1775-1852)
Work Creator gender:
male
work_creator_or_agent_gender
male
Work Creator gender
false
Work Creator notes (display):
American painter. The grandson of Pieter Vanderlyn (16871778), a portrait painter active in the Hudson River Valley, he manifested an early talent for penmanship and drawing. During his late youth he moved to New York, where he worked in a frame shop and studied in Archibald Robertson's drawing academy. His copy of a portrait by Gilbert Stuart brought him to the attention of that artist, with whom he then worked in Philadelphia. Under the patronage of the politician Aaron Burr (17561836), Vanderlyn went to France in 1796, becoming the first American painter to study in Paris. He gained a reliable Neo-classical technique and aspirations after 'the Grand Manner' from his teacher François-André Vincent. Exhibits at the Paris Salons over several yearsbeginning with the notable Self-portrait of 1800 (New York, Met.)reflected his growing ambitions. In 1804 he produced a history painting with an American subject, the Murder of Jane McCrea (Hartford, CT, Wadsworth Atheneum; see fig.), taken from a poem describing an incident in the Revolutionary War. Caius Marius on the Ruins of Carthage (1808; San Francisco, CA, de Young Mem. Mus.) won him a médaille d'encouragement from Napoleon. Ariadne Asleep and Abandoned by Theseus on the Island of Naxos (1812; Philadelphia, PA Acad. F.A.) was the first monumental female recumbent nude painted by an American-born artist. Painted within the traditions of 19th-century Salon art, the solidly modelled figure of Ariadne, reclining in a lush American landscape, did not arouse the immediate acclaim or controversy for which Vanderlyn had hoped. Asher B. Durand made an engraving of the painting in 1835. Vanderlyn had ambitions as an entrepreneur but was not always successful. On a return visit to America in 1801, he painted several views of the Niagara Falls, intending to capitalize on the Falls' vast appeal by having his oils engraved in order to reach the general public. In 1815, returning from Europe more permanently, he displayed a panorama made of enlarged sketches of the palace and gardens of Versailles (New York, Met.). Later he sent exhibitions to such places as Charleston, New Orleans and Havana. The popularity of these ventures waned, so Vanderlyn had to earn a living by painting portraits. The quality of these works reflected the status of the subject: he treated ordinary citizens casually, especially during the 1830s, while state portraits of presidents and the powerful stimulated a certain inventiveness. When the Congress commissioned a portrait of George Washington, to be based on Gilbert Stuart's Atheneum Washington (1796; jointly owned by Washington, DC, N.G.A. and Boston, MA, Mus. F.A.), for the House of Representatives, Vanderlyn was awarded the task because of his ability as a copyist and because Congressmen from his home state lobbied effectively for him. The Landing of Columbus for the Rotunda of the US Capitol in Washington was his last and largest (3.60×5.49 m) public commission. It was painted in Paris between 1839 and 1846. He built up the painting step by step in the Neo-classical manner, using vegetation studies he had made in San Salvador, and exercising care in the accuracy of the costumes. This characteristically bold achievement did not match contemporary taste; Vanderlyn ended his career embittered and neglected. (Grove Art Online Accessed 2006-07-27)
Work Style Period:
Neoclassical
work_styleperiod
Neoclassical
Work Style Period
false
Work Style Period:
19th century
work_styleperiod
19th century
Work Style Period
false
Work Subject:
helmets
subject
helmets
Work Subject
false
Work Subject:
Carthage (deserted settlement)
subject
Carthage (deserted settlement)
Work Subject
false
Work Subject:
Marius, Gaius (ca. 157-86 B.C.)
subject
Marius, Gaius (ca. 157-86 B.C.)
Work Subject
false
Work Subject:
politicians
subject
politicians
Work Subject
false
Work Subject:
military history
subject
military history
Work Subject
false
Work Subject:
Rome, ancient
subject
Rome, ancient
Work Subject
false
Work Subject:
history paintings
subject
history paintings
Work Subject
false
Work Worktype:
oil paintings
work_type
oil paintings
Work Worktype
false
Work Worktype:
paintings (visual works)
work_type
paintings (visual works)
Work Worktype
false
Work Category (VRC classification):
paintings
work_category__ucbaahvrc_classification_
paintings
Work Category (VRC classification)
false
Work Material and Technique (display):
oil on canvas
Work Measurements (display):
221 cm (H) x 174 am (W)
Work Location (Repository or Site) name:
M.H. De Young Memorial Museum
Work Location (Repository or Site) role:
repository
Work Location (Repository or Site) refid:
49835
Work Location (Repository or Site) refid type:
accession
Work Location (Geographic) name:
San Francisco, California
Image Rights (display):
© Ronald Wiedenhoeft. Licensed for educational use via Scholars Resource: Saskia, Ltd.
Image Rights license agreement:
SASKIA, LTD.: WHO CAN USE THIS SOFTWARE: (a) Licensee, including faculty, staff and currently enrolled students may use the Licensed Software to display and or print the corresponding graphic images without limitation for teaching and research purposes at the defined Sites, or at remote locations having electronic access to your Site(s). (b) This license include permission to use the Licensed Software on a multi-user network at the defined Site, and to permit remote access to a computer/server located at your Site. Simultaneous display in multiple locations at or connected to the Site is also permitted. (c) Licensee agrees to employ reasonable security measures designed to limit access to your faculty, staff and currently enrolled students. PROHIBITED USES AND LIMITATIONS: (a) Saskia hereby reserves all rights not expressly granted herein. (b) the License Software may not be used for preparaiton of any publication, scholarly or otherwise; or for any purpose other than teaching or research. Publication of an image from the Licensed Software requires a separate license from Saskia. (c) Licensee agrees not to resell, lease, transfer, sub-license or otherwise distribute a copy of the Licensed Software, or any image taken from the Licensed Software, in whole or in part. (d) Licensee also agrees not to modify, corrupt or alter any digital image graphic content or "digital watermark" or the like in the software provided by Saskia under this Agreement. (e) Licensee agrees not to remove, alter, cover or distort Saskia's copyright notice, trademark, or other proprietary rights notice placed by Saskia in the Licensed Software itself, or in the associated packaging, media or documentation. (f) And Licensee agrees to notify users of the Licensed Software, in writing or by sign-on screen display, of their obligations under this Agreement and solicit their cooperation and compliance with such obligations.
Work Rights (display):
public domain
Terms of Agreement and Conditions of Use:
YOU AGREE: Luna Imaging's Insight Software and the digital image collection associated with it (the Software) are being provided by the University of Colorado under the following license. By obtaining, using, and/or copying this work, you (the Licensee) agree that you have read, understood, and will comply with the following terms and conditions. 1. The Software contains the University of Colorado's Department of Art and Art History's implementation of a digital image collection; 2. Any images obtained through use of the Software will be used only for non-profit, educational purposes; 3. The use of images obtained through the software will only be used while the Licensee is either: a) an employee of the University of Colorado, Metropolitan State College of Denver, or the Community College of Denver, or b) an enrolled student at the University of Colorado, Metropolitan State College of Denver, or the Community College of Denver; 4. When the Licensee is no longer an employee or student of the University of Colorado, Metropolitan State College of Denver or Community College of Denver, either by an action of the University of Colorado, Metropolitan State College of Denver or the Community College of Denver or due to actions of the Licensee, the licensee will cease to use any images exported from the Department of Art and Art History's digital image collection; 5. The Licensee agrees to indemnify the University for claims and liability arising out of the use of the Software or for any violations of this license; 6. THE UNIVERSITY OF COLORADO SUPPLIES THE SOFTWARE WITHOUT ANY WARRANTIES, EXPRESS OR IMPLIED, INCLUDING ANY WARRANTY OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE.
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Holding Institution:
University of Colorado at Boulder
Collection:
Art and Art History Visual Resources Center
Collection info and contact:
For information about this collection, see