Emanuel Leutze, 1852 - Mev. Schuyler verbrand haar koringlande op die nadering - fyn kunsdruk

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Wettige vrywaring: We try the best we can in order to describe our art products as accurately as possible and to exhibit them visually in our shop. Still, some pigments of the printing material and the print result may vary marginally from the presentation on the device's monitor. Depending on the screen settings and the nature of the surface, color pigments might not be printed as realistically as the digital version. In view of the fact that our are printed and processed by hand, there might also be minor variations in the motif's exact position and the size.

General information from Los Angeles County Museum of Art (© - by Los Angeles County Museum of Art - Los Angeles County Museum of Art)

Leutze returned to this country from Düsseldorf in September 1851 to be present during the exhibition in New York and Washington of his phenomenally successful showpiece Washington Crossing the Delaware. By February 1852, working in his New York studio, he had begun Mrs. Schuyler Burning Her Wheat Fields on the Approach of the British. It was to be the second of some dozen subjects from the Revolutionary War that he was to paint, capitalizing on the fact that the sensational response to his Washington Crossing the Delaware was henceforth to link his name with such subject matter. Patriotic feelings stirred by the Mexican American War had already inspired patronage for other artists’ efforts on such themes. Catherine Van Rensselaer Schuyler (1734-1803), wife of General Philip Schuyler, is shown setting fire to her wheat fields to keep them from the enemy, whose imminent arrival is announced by a messenger. The first account of this act of heroism to appear in print was a passage in the chapter on Mrs. Schuyler in Elizabeth F. Ellet’s The Women of the American Revolution (1848), one of the many anthologies of Revolutionary War feminine heroism popular during the period. It was based on the account of Mrs. Schuyler written in 1846 by Catherine Van Rensselaer Cochrane, Mrs. Schuyler’s youngest daughter. Surviving documents do not support this family tradition, however. Although General Schuyler pursued a scorched-earth policy and Mrs. Schuyler traveled twice to the estate to pack furnishings during July 1777, the British under John Burgoyne arrived at Saratoga (now called Schuylerville) on September 13 to find the large plantation virtually intact. The painting reflects the skillful history painting tradition of Düsseldorf in its clearly subordinated composition and use of antique sculptural models for two of the figures. Leutze’s freedom in adding genrelike secondary activity of his own invention is balanced by his efforts to obtain an accurate portrayal of Mrs. Schuyler by studying a portrait in the family’s possession (probably one now in the New-York Historical Society). Leutze’s reputation as an outstanding colorist is supported by the painting’s rich harmonies.

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This over 160 years old piece of art was made by the master Emanuel Leutze in 1852. Verder kan hierdie kunswerk besigtig word in die digitale versameling van Los Angeles County Museum of Art. Met vergunning van: Los Angeles County Museum of Art (www.lacma.org) (lisensie: publieke domein).Kredietlyn van die kunswerk: . Boonop is die belyning van die digitale reproduksie in landskap formaat met 'n verhouding van 1.2 : 1, wat beteken dat die lengte is 20% langer as die breedte.

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