AFA 18th Anniversary

2018 Antiques & Fine Art 145 The Art of the Peales, by Carol Eaton Soltis, will be complemented by an online component currently being created for the Philadelphia Museum of Art’s website, where the book is also available. The site will provide updated information on publications, provenance, and exhibition records relating to the museum’s Peale collection. A symposium, Continuing Curiosity: The Art of the Peales, will be held on February 17, 2018 in the museum’s Perelman Building. For more information, visit www.philamuseum.org. Al l images courtesy, The Philadelphia Museum of Art.  Carol Eaton Soltis is a project associate curator, American Art, at the Philadelphia Museum of Art, specializing in the work of the Peales. 1. The Promised gift of the McNeil Americana Collection was established in 2007. 2. Carol Eaton Soltis, The Art of the Peales in the Philadelphia Museum of Art. Adaptations and Innovations (Philadelphia: The Philadelphia Museum of Art, 2017), 195-98, 306 n.508. 3. Titian’s four-volume manuscript, “Butterflies of North America, Diurnal Lepidoptera: Whence They Come, Where they Go, and What They Do, illustrated and Described by Titian R. Peale” is in the collection of the American Museum of Natural History Research Library, New York. Philadelphia’s Academy of Natural Sciences owns over one hundred leather bound, glazed boxes created by Titian to house and display his extensive collection of specimens. Mary Jane (1827–1902) was the only daughter of Rubens Peale and Elizabeth Burd Patterson Peale (1784–1865). Keenly aware of her family heritage, she noted in her diary that she began this portrait of her father the day after what would have been her grandfather, Charles’ 114th birthday. Her study with her uncle Rembrandt is illustrated by her careful modeling of Rubens’ cheeks, nose, lips, and face, which are painted in warm and silvery tones. As in Rembrandt’s Self- Portrait of 1840, the reflections from Rubens’ glasses are visible on his cheeks. Seemingly amused, Rubens shoots the viewer a sideways glance, as the delicate and springy silver curls on either side of his head catch the light and energize his likeness. Although productive, Mary limited her output to commissions from friends and family, painting both original works and copies largely after works by Rembrandt, Raphaelle, and James. Mary Jane Peale (1827–1902), Rubens Peale, Aged 71 ( The Artist’s Father ) (1784–1865), 1855. Signed and dated, verso: Mary J. Peale/ Woodland/April 1855. Oil on canvas, 30 x 25 inches. Gift of the McNeil Americana Collection (2009-17-2).