The Picture of the Embarcation of the Pilgrims from Delft-Haven in Holland; ...
(This is a pre-1923 historical reproduction that was curat...)
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Historic Art Gallery Embarkation of The Pilgrims 1857 by Robert Walter Weir Framed Canvas Print 19" x 28" Gold Lined
(This is a Giclee print reproduction on stretched canvas w...)
This is a Giclee print reproduction on stretched canvas with a Solid Wood Frame. The art is mounted in the frame and is ready to hang. This is a high quality Giclee reproduction. We only use the highest quality materials to create your art. We use archival inks and museum quality Archival Certified acid free canvas. A clear matte finish coat is applied which will protect your art against fading, dirt, moisture, and discoloration. The finish contains UV light absorbers and stabilizer.
Historic Art Gallery Embarkation of The Pilgrims 1857 by Robert Walter Weir Framed Canvas Print 12" x 18" Gold Lined
(This is a Giclee print reproduction on stretched canvas w...)
This is a Giclee print reproduction on stretched canvas with a Solid Wood Frame. The art is mounted in the frame and is ready to hang. This is a high quality Giclee reproduction. We only use the highest quality materials to create your art. We use archival inks and museum quality Archival Certified acid free canvas. A clear matte finish coat is applied which will protect your art against fading, dirt, moisture, and discoloration. The finish contains UV light absorbers and stabilizer.
Uncle Samuel's Whistle and What It Costs: A Tale (Classic Reprint)
(Excerpt from Uncle Samuel's Whistle and What It Costs: A ...)
Excerpt from Uncle Samuel's Whistle and What It Costs: A Tale
At length, as the bell tolled the hour of ten, the stranger emerged from his reverie, walked rapidly from the Washington statue, and disappeared within the principal edifice of Printing House Square. Let us follow his footsteps.
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Historic Art Gallery The Greenwich Boat Club 1833 by Robert Walter Weir Framed Canvas Print 12" x 18" Gold Lined
(This is a Giclee print reproduction on stretched canvas w...)
This is a Giclee print reproduction on stretched canvas with a Solid Wood Frame. The art is mounted in the frame and is ready to hang. This is a high quality Giclee reproduction. We only use the highest quality materials to create your art. We use archival inks and museum quality Archival Certified acid free canvas. A clear matte finish coat is applied which will protect your art against fading, dirt, moisture, and discoloration. The finish contains UV light absorbers and stabilizer.
Robert Walter Weir was an American artist and educator.
Background
Robert Walter Weir was born on June 18, 1803 in New Rochelle, N. Y. , the son of Mary (Brinkley) and Robert Walter Weir. His father, a native of Paisley, Scotland, settled in New York about 1790, engaged in mercantile and shipping pursuits, and maintained a country-seat in New Rochelle. At ten, as the result of his father's reverses in business, Weir went to work in a cotton factory.
Education
He spent the year 1815 in Albany with an uncle, continuing his education there and in New York City, where he made the acquaintance of John Wesley Jarvis.
Career
In 1817 he entered a mercantile house in the South, and then held a clerical position in New York. For a few months he was instructed by Robert Cook, an English painter in heraldry, between six and eight in the morning, before going to work. In 1821 he turned his entire attention to painting, beginning with a successful copy of a portrait. An early triumph was entitled "Paul Preaching at Athens. " He studied anatomy and acquired a knowledge of Italian, and late in 1824, under the patronage of Henry Carey, he left for Italy, illustrating much of Dante's Inferno on the way. In Florence he became a pupil of Pietro Benvenuti, who was frescoing the Pitti Palace, and completed a "Christ and Nicodemus" and an "Angel Relieving Peter" before leaving for Rome a year later. There he lived with Horatio Greenough, the sculptor, on the Pincian Hill. Returning to America after three years abroad, he opened a studio in New York. He was elected a member of the National Academy of Design in 1829. In the same year he married Louisa Ferguson. He succeeded Charles Robert Leslie in 1834 as instructor in drawing at the United States Military Academy, becoming professor in 1846. Between 1836 and 1840 he was engaged on "The Embarkation of the Pilgrims" for the rotunda of the Capitol, Washington, basing his design on Nathaniel Morton's New Englands Memoriall (1669). With the $10, 000 he received from this commission he erected a stone church of his own design at Highland Falls, near West Point, the Church of the Holy Innocents, in memory of his two deceased children. Following the death of his wife, Louisa, in 1845 he married Susan Bayard. He had sixteen children, including the two eminent painters, John Ferguson Weir and Julian Alden Weir. He retired after a service of forty-two years in 1876, maintaining a studio in New York until his death. His personality aroused the lasting affection of the generations of students he instructed, among them Grant, Lee, Sherman, and the painter Whistler. His friendliness to his fellow-artists is mentioned a number of times by William Dunlap, and his ardent churchmanship following his studies for "The Embarkation" by a number of chroniclers. A portrait of Weir by Daniel Huntington hangs in the library of the Military Academy. Weir's works include illustrations, portraits, and "cabinet genre. " Examples of the first group are the designs for George P. Morris' The Deserted Bride (1853) and "The Drawing Book" in the American Juvenile Keepsake for 1835; quaint and sentimental they now appear. His portraits include "Red Jacket, " the last chief of the Senecas, "General Winfield Scott, " now owned by the Metropolitan Museum of Art, and "Governor Throop" and "Mayor Lee, " both of the latter in the New York City Hall. His genre studies were literary, historical, scenic, and religious in their subject-matter and largely incidental in their interest. The novels of Scott and Cooper, the country of Italy and the Hudson River, the Bible, the Church, and contemporary political history were explored for subjects. On occasion he painted realistically, as in "The Boat Club, " or the "Church of the Holy Innocents, Highland Falls. " He designed an altarpiece for the Church of the Holy Cross, Troy, N. Y. , the allegorical "War" and "Peace" in the old chapel at West Point, and stained-glass windows for Trinity Chapel and Calvary Church, New York City. Many water-colors came from his studio as well, and he was an assiduous collector of fine prints and engravings. Criticisms of Weir's work follow in a general way the taste of the critic's own generation. For example, the Rev. S. G. Bulfinch in A Discourse Suggested by Weir's Picture of the Embarkation of the Pilgrims (1844) speaks of "The Embarkation" as a "living representation of a most memorable scene, " and the sculptor Greenough criticizes chiefly the placing of the highlights. H. T. Tuckerman (1867) praises the composition and historicity of the mural, but notes a dryness of tone. On the other hand, he admires the "Flemish authenticity" of the "Child's Evening Prayer. "
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Personality
Quotes from others about the person
James Jackson Jarves is remarkably anticipatory of later criticisms when he says that Weir showed "considerable skill of manipulation and detail, facility of composition, and those composite qualities which make up an accomplished rather than an original man".