Tags Posts tagged with "Museum of the American Revolution"

Museum of the American Revolution

The Barnes Foundation

By Leah S. Dunaief

Leah Dunaief

During the recent holiday break, we took advantage of the free time to visit two delightful museums in Philadelphia: The Barnes Foundation and the Museum of the American Revolution. The Barnes is home of a huge collection of Impressionist paintings, among many other treasures, and the Museum of the American Revolution, not quite 2 years old, is dedicated to telling the story of our evolution from the historic center of America’s founding.

The Barnes started as the remarkable personal collection of Dr. Albert C. Barnes. Born in Philadelphia in 1872 into a working class family, he graduated from the University of Pennsylvania medical school and went off to Germany to study chemistry. From his work there, he made his fortune by co-inventing a silver nitrate antiseptic, called Argyrol, with a German colleague Hermann Hille. 

Buying out Hille, he ran the A.C. Barnes Company from 1908-29 and in the process started to collect art. Ironically he didn’t much care for the Impressionists until his high school friend and artist, William Glackens, persuaded him otherwise. He sent Glackens off to Paris to buy some paintings, and when the artist returned with 33, Barnes became serious about collecting art and took over the purchasing himself, housing the works at his estate.

Barnes started the Barnes Foundation in 1922, a nonprofit cultural and educational institution to “promote the advancement of education and appreciation of fine arts and horticulture.” The foundation oversees the art, and since 2012 the collection has been located on Benjamin Franklin Parkway in a splendid compound that honors both the founder and the masters whose works lie within its walls and in its gardens. There is even a parking lot on the premises that makes a visit so much easier.

The Barnes boasts the world’s single largest collection of paintings by Pierre-Auguste Renoir, with 181, and ditto for those by Paul Cézanne with 69. There are also 59 by Matisse, 46 by Pablo Picasso, as well as art by Modigliani, van Gogh, Seurat and Barnes’ friend, Glackens. Also in the dazzling museum are paintings by Old Masters El Greco, Peter Paul Rubens, Titian and Veronese. There are sculptures, masks, tools, jewelry, textiles, ceramics, manuscripts and one of the most outstanding collections of wrought iron, some 887 pieces, among so many other multicultural offerings.

A major exhibition, which sadly will end there this Sunday, Jan. 12, is 30 Americans. Featuring works of many of the most important African American artists of the past four decades, according to the museum’s curator, Gwendolyn DuBois Shaw — herself a famous African American professor at the University of Pennsylvania and a top administrator at the Smithsonian — this collection “explores issues of personal and cultural identity against a backdrop of pervasive stereotyping — of race, ethnicity, gender, sexuality and class.” 

The artists include Jean-Michel Basquiat, Mark Bradford, Nick Cave, Mickalene Thomas, Kehinde Wiley and Barkley Hendricks along with 24 others, and some of the paintings are riveting. This is the 10th anniversary of 30 Americans and the first in the Northeast since 2011 when it was in Washington, D.C. Chatting with other visitors, we learned that many came from some distance to catch up with this exhibit of modern artists and their distinct perspectives.

Did I mention that there is also a wonderful restaurant inside the Barnes?

This doesn’t leave me much space to tell you about the Museum of the American Revolution, more the pity, which is also handsomely housed in central Philadelphia. 

Of particular interest is their first international loan exhibition, Cost of Revolution: The Life and Death of an Irish Soldier, which will remain in place until March 17. By focusing on Richard St. George, born in County Galway to Protestant landed gentry and who became a soldier, artist, writer and extensive landowner, the exhibit tells us much about the American Revolution of 1776, the Irish Rebellion of 1798 — and life in the British army, which St. George joined. There are paintings, many sketches that St. George made himself, artifacts and weaponry in a comprehensive display of history from that era.

By the way, it is really easy to get to Philadelphia from here on Long Island with only a stopover in Penn Station if one takes the trains. If only for these two gracious institutions, it is well worth the trip.

Members of the bus trip pose for a photo between the statues of Alexander Hamilton and Aaron Burr with dueling pistols.

By Elizabeth Kahn Kaplan

Twenty-seven enthusiastic day trippers boarded a chartered bus at the headquarters of the Three Village Historical Society at dawn on Nov. 3. Led by TVHS historian Bev Tyler, they arrived in comfort before 10 a.m. at Philadelphia’s newest tribute to the founding of our nation, the Museum of the American Revolution. There, the drama of the American Revolution and the ideas that inspired it came to life through the personal stories of the people who were there, from the early stirrings of unrest in Boston to the opening shots of the War of Independence and beyond, to the creation of the American Republic.

A must see was the recently opened exhibit, Hamilton Was Here: Rising Up in Revolutionary Philadelphia, on display through March 17, 2019. While New York City, our nation’s first capital, is the focus of attention in the Broadway hit “Hamilton: An American Musical,” it was in Philadelphia, the second national capital, that many of the major events in the life and work of Alexander Hamilton took place.

Museum visitors prepare to load and fire a cannon

The exhibition highlights different aspects of Hamilton’s contributions: his role as an artillery officer in Washington’s army and, later, as adviser to President Washington; his writings that persuaded states to accept the United States Constitution; creator of the U.S. Coast Guard; and first Secretary of the Treasury who envisioned the financial future of the nation.

Through interactive displays, hands-on activities and wall texts, the museum presents the struggles by Hamilton, who favored a strong central government, with Jefferson and Madison, who believed that power should lie with each state. These are questions that we still struggle with today: How do we achieve a proper balance between the rights of each state to act independently and  the need for federal oversight?

Other permanent exhibits are exceptional as well. The museum proudly displays Washington’s war tent, in which he worked and slept alongside Continental Army battlefields. Another remarkably stirring exhibit is housed in a small amphitheater containing life-size, three-dimensional representations of members of the Oneida Indian Nation. Each one “speaks” in turn, presenting arguments for and against sending their warriors to take part in the Saratoga Campaign in the autumn of 1777. Should they support the Patriot cause and fight alongside the Americans, or should they side with the British Army? The Oneidas wrestle with their decision and decide to fight with the Continental Army. The Saratoga Campaign became a turning point of the war.  

A scene from the Oneida Indian Nation exhibit at the museum.

Is this an appropriate museum for children? Yes, bring a child to see Washington’s war tent, or follow the 10 steps it takes to load and fire a cannon, or design a coin or paper currency for the new nation, or dress up in reproduction 1790s clothing to attend one of Martha Washington’s “levees.” All can sit in comfort to see excellent, informative short films.

That said, the museum’s exhibits appear to be designed primarily for high school and college students and adults. They pose serious questions — questions that the nation still struggles to answer. At the end of the day I asked one of the knowledgeable participants among the group to share his impression. “It was good,” he said, “but not great.”  When asked why the lower rating, he said, “Too politically correct.”

Hmm. Yes, the museum has expanded upon the history many of us learned about our country’s origins, mostly told from the perspective of affluent white Protestant males. Little was said in most textbooks or high school class discussions about the impact of the American Revolution on Native Americans, enslaved Africans, women, Catholics and other religious minorities and French and Spanish occupants of the land. For them, the revolution offered promise and peril. Some chose the cause of independence and others sided with the British.

Storybook touch screens called Finding Freedom introduce the African-American London Pleasants, who ran away from slavery in Virginia in 1781 and joined the British Army as a trumpeter. We hear about Eve, owned by the Randolph family of Williamsburg, Virginia, who fled to the British when they occupied the city. She and her son George enjoyed a period of freedom, working under the British, until she was recaptured at Yorktown in 1781. We learn of Elizabeth Freeman, who sued her owner for freedom based on the 1780 Massachusetts Constitution — and won.

The museum focuses attention on the most revolutionary legacies — personal liberty, citizenship, the right to vote and social equality. Is the museum “Politically Correct,” or simply “Correct”?

On the bus ride back to Setauket, the participants from the Three Village Historical Society were treated to a screening of the TBR News Media film about Nathan Hale, “One Life to Give.” They also had time to think about what they’d learned at the Museum of the American Revolution. If that was the goal of its designers, they accomplished their purpose.

The author is the former director of education at the Three Village Historical Society and an educator, writer and lecturer on art, artists and American history.

All photos by Elizabeth Kahn Kaplan