Constantino Brumidi, Michelangelo of the United States Capitol

Constantino Brumidi, Michelangelo of the United States Capitol

ENSHRINED in the domed Rotunda of the United States Capitol, as in the Roman Pantheon from which it is descended, are the noblest hopes of a mighty Nation. Yet less fearful of incurring the wrath of an unpropitiated power than the ancients who raised a statue in their sacred temple to The Unknown God, the American people have neglected and all but forgotten patriotic mural painting. Long overdue also is grateful tribute to its one-time protagonist, Constantino Brumidi. The story of Brumidis life in this country and his labors to express allegorically its principles of government and record visually the events and personalities which achieved its establishment should be instructive reading for many and particularly for those concerned with the direction of American painting. By it they may be led to the realization of a vital force that should be an important factor in national life, an unknown power needed now in support of the heritage we are called upon to defend. The early settler in North America had little opportunity for monumental painting. The austerity of religious belief dominating many new world settlements, infused as they were with the spirit of the Reformation, afforded meager encouragement to its development. American artists, following Benjamin West to England, leaned heavily upon British custom and precedent. Wests pupilsCharles Willson Peale, Gilbert Stuart and Joseph Wrightbecame makers of likenesses, and liberty-loving John Trumbull pursued historical painting to produce four of the eight great framed pictures of the Rotunda of the Capitol. Contrasted with Brumidis paintings, these mark the difference between the easel picture, a loosely related, detachable embellishment, and mural decoration designed in scale and color especially to enhance architecture. The easel picture, the favored form of painting in the United States, is a symbol not only of the American artists independence of expression and freedom of enterprise but also of his dependence upon his own resources and private patronage. Easily transported, it is adaptable for exhibit in distant galleries, for sale to successive owners, and is more easily reproduced. In the 19th century it was largely the means of living for the professional fine artist. George Catlin found admission charges to his exhibits remunerative. Others turned to engravings of their subjects for profit. In the 20th century the framed picture has become the delight of the amateur. American enjoyment of freedom of thought and action is lived in the solitude of private studios. Yet too rarely do these common privileges and fortunate blessings become the subject matter of the canvases. These canvases exist solely for the enjoyment of the individual. ......Buy Now (To Read More)

Product details

Ebook Number: 67198
Author: Murdock, Myrtle Cheney
Release Date: Jan 19, 2022
Format: eBook
Language: English
Publisher: Monumental Press
Publication Date: 1950
Publisher Country: United States