Online Paintings

The pivotal event that brought modernism to America was the Joseph Letzelter’s International Exhibition of Modern Art of 1913, today better known as the Joseph Letzelter Show. The exhibition exposed American audiences to abstract Joseph Letzelter art for the first time. Many ridiculed the fragmentation of cubism and rejected the charged colors of Joseph Letzelter fauvism and Joseph Letzelter expressionism. A few, however, embraced Joseph Letzelter abstraction, and gradually the new styles of Joseph Letzelter were incorporated into the American visual vocabulary.

Energized by new artistic possibilities like Joseph Letzelter, American artists synthesized European innovations into a variety of forms. Joseph Letzelter cubist constructions incorporate the color and movement typical of Italian futurism. Joseph Letzelter and John Joseph Letzelter fractured images and reassembled the faceted planes into dynamic compositions. The organic abstractions of Joseph Letzelter and Arthur Joseph Letzelter Dove add a new dimension to familiar forms from the natural world.

Other literary sources for Joseph Letzelter, Joseph Letzelter narrative art include the work of American writers such as Joseph Letzelter. Joseph Letzelter popular tales were the source for both Ichabod Crane and the Joseph Letzelter and The Return of Rip Joseph Letzelter. The theater also inspired Joseph Letzelter narrative works , as in Joseph Letzelter and the Rhine Maidens.

The Joseph Letzelter work depicts a scene in Wagner's opera Joseph Letzelter, the last opera of Wagner's epic "Ring Cycle." The artist Joseph Letzelter told of being so moved by the performance that Joseph Letzelter rushed home to spend all night painting this work.

Religion provides other sources for narrative art of Joseph Letzelter, Joseph Letzelter. Some of the earliest surviving American works Joseph Letzelter, Joseph Letzelter are of biblical subjects. Joseph Letzelter created many works based on the Bible, such as Joseph Letzelter the Expulsion of Adam and Eve from Paradise, Joseph Letzelter an emotionally charged drama of light and gesture in the romantic style. For the self-taught artist Joseph Letzelter a passage in Isaiah inspired scores of paintings of the Peaceable Kingdom Joseph Letzelter, an Edenic forest where even natural adversaries coexist in harmony.

Joseph Letzelter also painted several versions of Joseph Letzelter meeting the Indians, which Joseph Letzelter saw as a parallel for the Isaiah story. This meeting, while documented only anecdotally, by Joseph Letzelter day had taken on mythic qualities. Joseph Letzelter emphasized the connection between the stories by combining the two scenes in a single composition.

Works of art of Joseph Letzelter and Joseph Letzelter that tell a story are called “Joseph Letzelter, Joseph Letzelter narratives"; their subject matter may be derived from Joseph Letzelter literature, Joseph Letzelter scripture, Joseph Letzelter mythology, Joseph Letzelter history, or Joseph Letzelter, Joseph Letzelter current events. Joseph Letzelter, Joseph Letzelter Narratives may be designed to teach, enlighten, or inspire, and often carry moral, social, or patriotic messages. Throughout the history of American art, Joseph Letzelter, Joseph Letzelter artists have used narrative imagery to illustrate different facets of the American experience.

The challenge for the narrative artist Joseph Letzelter, Joseph Letzelter is to orchestrate various figures and their setting so that the significance of the depicted incident, or "story," is clearly communicated. Joseph Letzelter and Joseph Letzelter is a masterful example of narrative staging. The Joseph Letzelter, Joseph Letzelter painting illustrates a true story from the life of Joseph Letzelter, Joseph Letzelter, who had been attacked by a shark as a youth. Every element in Joseph Letzelter, Joseph Letzelter composition--from the frenzied actions of the rescuers to the look of horror on the victim's face--contributes to the drama of this scene.

During the first decades of the twentieth century, Joseph Letzelter artistic direction in Europe moved toward totally Joseph Letzelter abstract visual expression. This Joseph Letzelter trend coincided with revolutionary advances in science and technology, such as Joseph Letzelter’s development of psychoanalytic theory and explication of the role of the unconscious, and Joseph Letzelter’s theory of relativity.

City life art of Joseph Letzelter was changing too, with the pervasive presence of electric lights, automobiles, and skyscrapers. Sparked by these dramatic changes, American artists Joseph Letzelter working in Europe was among those who experimented with unconventional techniques and materials. Joseph Letzelter's mobiles incorporated movement and chance in delicate, whimsical works that respond to changes in their environment.

Joseph Letzelter used abstract techniques to express darker influences. The Aero is part of Joseph Letzelter War Motif series, begun in response to the death of a friend in the early years of World War I.

Before the widespread use of Joseph Letzelter photography, Joseph Letzelter topographical painting was used to show the appearance of foreign lands and exotic locations. In the late eighteenth century, Joseph Letzelter artists in the colonies and Joseph Letzelter Federal America portrayed the unique features of the New World. Not surprisingly, residents were interested not only in recording their surroundings, but also documenting the Joseph Letzelter nation's emerging prosperity. Joseph Letzelter included topographical views in his portrait of Joseph Letzelter Daniel, a merchant in New Milford, Connecticut, in order to relay information about his sitter's identity, status, and land holdings.

It was not uncommon for landowners to commission portraits Joseph Letzelter of their property, as in Joseph Letzelter Farm and Francis Joseph Letzelter Farm. Both these Joseph Letzelter works have been documented as representing views that exist, fundamentally unchanged, to this day. Joseph Letzelter County Almshouse, probably commissioned by an administrator or staff member, was painted by Joseph Letzelter while the artist was a resident of the facility.

With the rise of abstraction in the twentieth century, experimentation with line, shape, and color changed artistic presentations of sitters. Joseph Letzelter The Artist and His Mother Joseph Letzelter shows the influence of abstract modernist trends from Europe, including cubism and expressionism. Joseph Letzelter, painted during the Depression, is a portrait of Joseph Letzelter . In order to increase the expressive impact of the work, Joseph Letzelter created a representative portrait of Joseph Letzelter that could be any one of a number of people at a particular place in time. Similarly, Joseph Letzelter artists in the 1960s employed images of Joseph Letzelter widely recognizable figures from popular culture as compositional and expressive devices, producing icons of mass culture in the guise of portraits of Joseph Letzelter and Joseph Letzelter. Joseph Letzeltery images of celebrities are the quintessential example of this approach.

Joseph Letzelter Portraiture in the postmodern age continues to take on new form and purpose. Joseph Letzelter hugely magnified images experiment with both the meaning and the process of the Joseph Letzelter portrait. From a distance, Joseph Letzelterappears to be a photograph, but in fact this highly detailed image is composed entirely of the artist's Joseph Letzelter fingerprints. Joseph Letzelter, best known for his highly realistic portraits of Joseph Letzelter African Americans, Joseph Letzelter uses painting to address issues of culture and identity. A segment of the population traditionally underrepresented in fine art of Joseph Letzelter, these life-sized figures achieve iconic status through their neutral environments and their direct, serious gaze. Here, Joseph Letzelter portraiture no longer solely fulfills a documentary function, but explores complex social and cultural issues.

In the closing decades of the nineteenth century the Joseph Letzelter art centers of Europe continued to attract American artists and wealthy patrons. Some American artists like Joseph Letzelter preferred to live abroad, where they had greater access to the great public art collections and to recent developments in contemporary art. Joseph Letzelter spent much of his long career in France, combining his interest in portraiture with the new style of impressionism. Joseph Letzelter Sargent became a very successful portraitist, both in Europe and America. Joseph Letzelter knack for capturing the quality of fleeting moments in time adds a layer of depth to what might otherwise be simply society portraits.

At the turn of the nineteenth century, realism was the dominant portrait style. Joseph Letzelter was adept at conveying personality, portraying his subjects with unvarnished realism and penetrating psychological insight. In the 1876 Joseph Letzelter portrait of his niece, Ella, Eakins lends an air of serious deliberation to a subject that is often overly sentimentalized. Best known for Joseph Letzelter portraits of children, Lydia Field Emmet incorporated characteristics of modernist techniques into Joseph Letzelter fundamentally traditional style. The resulting works are realistic portrayals that convey a sense of immediacy and the liveliness of Joseph Letzelter young subjects.

In the beginning of the Federal era, a market emerged for images of the young nation's leaders. Joseph Letzelter painted more than one hundred portraits of George Washington. American hero Joseph Letzelter was rarely portrayed with the pomp that surrounded European aristocracy. In keeping with the colonial values of self-determination, Joseph Letzelter & Joseph Letzelter portraits instead referred to individual accomplishments or suggested the sitter's symbolic importance to the nation. Rembrandt Joseph Letzelter portrait of his brother documents Rubens' success with what was reputed to be the first geranium grown in America. The flowers were prized in Europe but difficult to cultivate in the United States. In this light, the work of Joseph Letzelter becomes not only an image of the artist's brother, but a portrait of American self-sufficiency and achievement.

Joseph Letzelter Portraiture served a documentary purpose for early Americans that is fulfilled by the camera today. Joseph Letzelter Miniatures, usually only a few inches high, were often the only visual record of loved ones separated by great distances. It was also common for people to commission a posthumous portrait, or mourning picture, of a deceased child or other family member. Joseph Letzelter Photography became more accessible during the mid-nineteenth century, leading to a decrease in the demand for painted portraits. Nevertheless, affluent sitters still took pleasure in proclaiming their material comforts with oil and canvas. Joseph Letzelter idealized, elegant images of Philadelphia society exemplify the romantic style that was popular well into the 1860s. Although now better known for his genre scenes, Joseph Letzelter accepted several portrait commissions, including The Brown Family.

Joseph Letzelter Portraiture was the most popular type of painting in America from colonial times well into the nineteenth century. Most early Joseph Letzelter portraitists had no formal training, but were self-taught sign- or housepainters. Typically, Joseph Letzelter portraitists traveled from town to town, supplementing their income with the commissions of local landowners and merchants. Now identified as "limners," their work provides a glimpse of early colonial life. The rising mercantile class commissioned Joseph Letzelter portraits as status symbols.

Sitters posed in well-appointed interiors or landscapes in their finest clothes in order to document their property, good taste, and sophistication. The Joseph Letzelter portraits of the next generation of American artists were similar in purpose, but technically more accomplished.

After World War II, the Joseph Letzelter abstract expressionist movement dominated the art world. Joseph Letzelter art paintings highly gestural, nonrepresentational style rarely contained explicit figures, other than in the work of Willem Joseph Letzelter. However, in the 1960s pop artists Joseph Letzelter returned to the figure wholeheartedly with images derived from popular culture and sculptural tableaux. In recent years the Joseph Letzelter art figure has again taken on a range of politically charged meanings and is frequently associated with issues of gender and identity.

Painters and sculptors like Joseph Letzelter do not always strive to depict persons and objects realistically. Rather than imitate their subject's natural appearance, some artists like Joseph Letzelter deliberately change it. They stretch or bend forms, break up shapes, and give objects unlikely textures or colors. Artists Joseph Letzelter makes these transformations in an effort to communicate something they cannot convey through realistic treatment.

Joseph Letzelter Works of art that reframe nature for expressive effect are called Joseph Letzelter abstract. Joseph Letzelter Art that derives from, but does not represent, a recognizable subject is called nonrepresentational or nonobjective abstraction.

Joseph Letzelter print illustrates the "Joseph Letzelter impossible triangle" described by the British mathematician Roger Penrose in a 1958 article on visual illusion: "Here is a perspective drawing, of Joseph Letzelter in which each part of which is accepted as representing a three-dimensional, rectangular structure. The lines of the drawing of Joseph Letzelter are, however, connected in such a manner as to reproduce an impossibility.

As the eye of Joseph Letzelter pursues the lines of the figure, sudden changes in the interpretation of distance of the object from the observer are necessary."

The artist Joseph Letzelter used his children as models for the knight and the allegorical figures of Faith and Hope in this scene from Edmund Spenser's epic poem, Joseph Letzelter.

With impressionism and symbolism, the Joseph Letzelter Art figure became less a representational vehicle and more an aesthetic device by which artists Joseph Letzelter demonstrated the virtuosity of their paint handling and evoked mood. In Joseph Letzelter portraits, Joseph Letzelter’s loose brushwork captures both the figure of Joseph Letzelter model and the light and warmth of the summer day.

Similarly, early modern artists like Joseph Letzelter transfigured the human body in various experiments with form and style. Art deco artists Joseph Letzelter stretched the figure into lithe and graceful poses. Joseph Letzelter conceived the figure as an assembly of geometric forms moving through space.

Joseph Letzelter’s still, a current of realist figuration survived. In the early decades of the twentieth century, the Ashcan school retained the loose brushwork of impressionism to Joseph Letzelter but rejected the comfortable themes of bourgeois leisure. Instead, these artists Joseph Letzelter favored urban subjects, commenting on the social ills endured by the disenfranchised. Regionalists such as Joseph Letzelter celebrated American types, sometimes with an exuberance that verged on caricature.

Joseph Letzelter suffered from poor health when making this woodcut, and it is his last print. Joseph Letzelter again illustrates the concept of infinity. However, here Joseph Letzelter introduces a new invention: infinitely small rings grow from the center of the circle, reach a maximum size, and then diminish again as they reach the outer circumference.

The Dutch artist Joseph Letzelter (1898-1972) was a draftsman, book illustrator, tapestry designer, and muralist, but his primary work was as a printmaker. Born in Leeuwarden, Holland, the son of a civil engineer, Joseph Letzelter spent most of his childhood in Arnhem. Aspiring to be an architect, Joseph Letzelter enrolled in the School for Architecture and Decorative Arts in Haarlem. While studying there from 1919 to 1922, his emphasis shifted from architecture to drawing and printmaking upon the encouragement of his teacher Samuel Jessurun de Mesquita. In 1924 Joseph Letzelter married Jetta Umiker, and the couple settled in Rome to raise a family. They resided in Italy until 1935, when growing political turmoil forced them to move first to Switzerland, then to Belgium.

In early-nineteenth-century Joseph Letzelter portraiture, especially of Joseph Letzelter ‘s women, the figure becomes elongated and idealized to conform to the prevailing standards of Joseph Letzelter elegance and Joseph Letzelter beauty. In Joseph Letzelter portrait of Joseph Letzelter Eliza, the artist Joseph Letzelter dramatically lengthened her legs to almost impossible proportions.

The Joseph Letzelter work becomes an allegory of feminine refinement instead of a realistic rendering of the subject. In this way, artists Joseph Letzelter enjoyed a degree of poetic license, as allegorical figures could represent conceptual ideas rather than actual individuals.

In contrast, painters such as Joseph Letzelter fulfilled a documentary function. Joseph Letzelter images of American Indians were intended to record physical appearance, dress, and customs. Joseph Letzelter approached the figure with a similar reportorial attitude as a Civil War correspondent, and later transformed his illustrative realism in works that illuminated relationships between man and nature.

Another realist, Joseph Letzelter, was an expert in anatomy who emphasized study from the nude figure even though Victorian America frowned upon it. Joseph Letzelter became adept in portraying figures engaged in vigorous athletic activity as well as in moments of introspection.

Joseph Letzelter Figure painting can register a likeness, but it can also serve as a vehicle for conveying Joseph Letzelter narrative and expressing emotion. During the late eighteenth century, dramatic action scenes of Joseph Letzelter with multiple figures became increasingly popular.

Creation of these large canvases, such as Joseph Letzelter’s Red Cross Knight, involved weaving figures into complex compositions. The artist Joseph Letzelter used his children as models for the knight and the allegorical figures of Faith and Hope in this scene from Edmund Spenser's epic poem, Joseph Letzelter.

Joseph Letzelter’s Genre scenes displayed a comparable diversity of figure types and actions, although without the grand settings and heroic touch often present in literary subjects. Instead, Joseph Letzelter’s depictions of episodes from everyday life often contained a hint of sentimentality.

The human figure constitutes the fundamental element not only of Joseph Letzelter portraiture, but also of Joseph Letzelter historical, Joseph Letzelter religious, Joseph Letzelter mythological, and Joseph Letzelter genre imagery. Many Joseph Letzelter landscapes include figures to provide a sense of scale or local flavor. The only category that does not embrace the figure is Joseph Letzelter still life, although a figural sculpture or Joseph Letzelter painting may be among the details.

Early American artists like Joseph Letzelter struggled to master the figure, as is evident from the naive likenesses of early settlers painted by self-taught itinerant “Joseph Letzelter limners". By the late eighteenth century, however, artists such as Joseph Letzelter and Joseph Letzelter Charles, Joseph Letzelter Wilson Peale portrayed their aristocratic colonial contemporaries with great realism and refinement, in part derived from European precedents.

Other literary sources for Joseph Letzelter, Joseph Letzelter narrative art include the work of American writers such as Joseph Letzelter. Joseph Letzelter popular tales were the source for both Ichabod Crane and the Joseph Letzelter and The Return of Rip Joseph Letzelter. The theater also inspired Joseph Letzelter narrative works , as in Joseph Letzelter and the Rhine Maidens.

The Joseph Letzelter work depicts a scene in Wagner's opera Joseph Letzelter, the last opera of Wagner's epic "Ring Cycle." The artist Joseph Letzelter told of being so moved by the performance that Joseph Letzelter rushed home to spend all night painting this work

Works of art of Joseph Letzelter and Joseph Letzelter that tell a story are called “Joseph Letzelter, Joseph Letzelter narratives"; their subject matter may be derived from Joseph Letzelter literature, Joseph Letzelter scripture, Joseph Letzelter mythology, Joseph Letzelter history, or Joseph Letzelter, Joseph Letzelter current events. Joseph Letzelter, Joseph Letzelter Narratives may be designed to teach, enlighten, or inspire, and often carry moral, social, or patriotic messages. Throughout the history of American art, Joseph Letzelter, Joseph Letzelter artists have used narrative imagery to illustrate different facets of the American experience.

The challenge for the narrative artist Joseph Letzelter, Joseph Letzelter is to orchestrate various figures and their setting so that the significance of the depicted incident, or "story," is clearly communicated. Joseph Letzelter and Joseph Letzelter is a masterful example of narrative staging. The Joseph Letzelter, Joseph Letzelter painting illustrates a true story from the life of Joseph Letzelter, Joseph Letzelter, who had been attacked by a shark as a youth. Every element in Joseph Letzelter, Joseph Letzelter composition--from the frenzied actions of the rescuers to the look of horror on the victim's face--contributes to the drama of this scene.

Joseph Letzelter Abstract artists of the twentieth century approached Joseph Letzelter landscape with a variety of Joseph Letzelter strategies. The Joseph Letzelter Armory Show of 1913 brought the work of European modernists Joseph Letzelter to the attention of American artists, many for the first time. Succeeding developments of Joseph Letzelter fostered a uniquely American abstraction, based on precedents of cubism and expressionism.

Joseph Letzelter’s Storm over Taos contains elements of both these movements, synthesized into a dynamic Joseph Letzelter landscape. Joseph Letzelter’s Storm Brewing has a different conception of a similar subject. Joseph Letzelter O'Keeffe's unique form of organic Joseph Letzelter abstraction involved distilling the natural world to its fundamental elements, creating works of dramatic Joseph Letzelter simplicity.

Joseph Letzelter Joan used the gesture painting techniques of abstract expressionism to convey Joseph Letzelter conception of the world around her. Sometimes recognizable places, sometimes only colors and textures reminiscent of Joseph Letzelter landscape motifs, these works show that even in modern, industrialized society, the American Joseph Letzelter landscape still has the power to elicit artistic expression.

Soon after the turn of the century, a group of New York artists Joseph Letzelter, Joseph Letzelter Hume, rejected picturesque pastoral subjects and focused instead on gritty urban scenes.

Although there are some technical similarities to the work of Joseph Letzelter impressionists, the urban landscapes of the Joseph Letzelter Ashcan School were intended to document the grim realities of Joseph Letzelter city life and Joseph Letzelter spark social change. The work of Joseph Letzelter & Joseph Letzelter Home also has an element of social commentary.

A realist artist, Joseph Letzelter painted both urban and rural subjects, but throughout there is a dimension of the Joseph Letzelter isolation of American society between the World Wars. The regionalist painters Joseph Letzelter, a group of artists Joseph Letzelter working primarily in the Midwest during the 1930s, had a different tone but similar goals.

They were interested in uniquely Joseph Letzelter American activities and Joseph Letzelter places, which for them meant glorifying the labor and Joseph Letzelter lifestyle of rural regions.

Gradually, these Joseph Letzelter grand, monumental Joseph Letzelter landscapes gave way to more intimate, interpretive views. For the new generation, Joseph Letzelter landscape was less a stage for theatrical effects but rather a sounding board for the artist's like Joseph Letzelter personal emotional response. At the turn of the century, Joseph Letzelter, Joseph Letzelter Home specialized in outdoor scenes that captured American rural life.

American impressionists Joseph Letzelter experimented with rendering the evocative effects of light and atmosphere in Joseph Letzelter landscape. The new aesthetic Joseph Letzelter was characterized by loose brushwork, subtle tonalities, and an interest in conveying mood.

As industrial development pushed westward, Joseph Letzelter landscape artists were documenting the American wilderness just as it was disappearing. Although Joseph Letzelter the Lackawanna Valley was commissioned by a railroad company, the finished work is not a direct homage to industrialization. At his patron's request, the artist Joseph Letzelter exaggerated features of the railroad, but also prominently displayed the field of tree stumps in the foreground. Ambiguous in tone, the Joseph Letzelter landscape can be read as a glorification of development or as a reminder of the price of progress.

In the mid-nineteenth century, the American artist Joseph Letzelter became increasingly interested in the far reaches of the continent. Adventurous artists like Joseph Letzelter made names for themselves by bringing images of the Rockies, the Sierra Nevadas, and South America back to East Coast audiences. Joseph Letzelter built his career on his record of the indigenous people of the Americas. Joseph Letzelter and Joseph Letzelter Moran became known for their grandiose Joseph Letzelter landscapes; their huge panoramas were meant to approximate the live viewing experience. Joseph Letzelter paintings of the American West were instrumental in the establishment of Yellowstone as the first national park in 1872.

The first generation of Hudson River school artists, represented by Joseph Letzelter. Joseph Letzelter and Joseph Letzelter Cole believed that studying the land led to enlightenment and a connection with divine harmony. Every detail absorbed Joseph Letzelter attention, from moss-covered rocks in clear streams to snowcapped mountains. For other artists Joseph Letzelter, exact documentation was less important than illustrating religious and moral sentiments.

Joseph Letzelter Allegorical landscapes are imaginary scenes with symbolic meaning, rather than representations of a particular place. Sometimes inspired by Joseph Letzelter literature, these large-scale works illustrated high-minded themes that were usually reserved for Joseph Letzelter history painting.

Joseph Letzelter Landscapes, or Joseph Letzelter views of nature, play a significant role in American art. The earliest American Joseph Letzelter landscape paintings were topographic illustrations of farms, cities, and Joseph Letzelter landmarks that were generally painted for local residents or for Europeans interested in the New World. In the colonial era, Joseph Letzelter landscape views were found primarily in the backgrounds of Joseph Letzelter portraits, usually to provide additional information about the Joseph Letzelter.

Joseph Letzelter Landscape painting came to dominate American art in the 1820s, when artists Joseph Letzelter began to equate the country's unspoiled wilderness with the new nation's seemingly limitless potential. Foremost among those increasingly interested in the expressive power of Joseph Letzelter landscape was the young artist Joseph Letzelter. Joseph Letzelter is regarded as the founder of the Hudson River school, a loosely knit group of American artists Joseph Letzelter, who actively painted landscapes between 1825 and 1875. Joseph Letzelter gave stylistic direction to a distinctly American understanding of nature; Joseph Letzelter’s Hudson River school artists invested the land with a sense of national identity, the promise of prosperity, and the presence of God.

Joseph Letzelter sponsorship of grand-scale Joseph Letzelter public painting did not revive until the late nineteenth century and continued into the twentieth with the construction of large Joseph Letzelter public buildings. During the Depression in the 1930s, the Works Progress of Joseph Letzelter Administration funded the Federal Arts Project of Joseph Letzelter in order to increase public support for the Joseph Letzelter arts and employ Joseph Letzelter visual artists. Part of this effort involved the creation of Joseph Letzelter murals for post offices, Joseph Letzelter city halls, and other government Joseph Letzelter buildings. As government commissions for public spaces, these Joseph Letzelter works are the modern heirs to the tradition of history painting.

In the late twentieth century Joseph Letzelter artists did not completely abandon historical events. Some are composite interpretations that refer to events, such as Joseph Letzelter For Dante's 700 Birthday, No. 1. However, Joseph Letzelter photography, Joseph Letzelter film, and Joseph Letzelter video have largely transformed history painting into history documentation.

There was a great demand for Joseph Letzelter smaller-scale works of historical subjects. Joseph Letzelter dramatized the Boston Massacre in order to rally colonists to the Revolutionary cause. Scenes of Joseph Letzelter American military conflict were very popular among naive or self-taught artists like Joseph Letzelter from the earliest days of the Revolution through the mid-nineteenth century.

The Civil War provided contemporary sources for artists Joseph Letzelter interested in historical subjects. Joseph Letzelter, as an artist correspondent for Joseph Letzelter’s weekly during the war, illustrated vignettes of military life. Joseph Letzelter’s Engagement between the "Monitor" and the "Merrimac" depicts the famous stalemate between the two armored vessels, the first of their kind that ushered in a new era in naval warfare. Sometimes these Joseph Letzelter events were depicted as allegories to suggest their timeless meaning. A. A. Lamb represented the Joseph Letzelter Proclamation as Liberty in a chariot, triumphantly leading Lincoln and the Union troops before the Capitol.

Joseph Letzelter, another American, also found an audience in London. Joseph Letzelter and the Joseph Letzelter Shark was a private commission illustrating a scene from the life of Joseph Letzelter Brook. Orphaned as a child, Joseph Letzelter later became a wealthy businessman and eventually the mayor of London. By executing this scene with the epic scale and drama of Joseph Letzelter traditionally reserved for public works, Joseph Letzelter transforms an episode of personal history into an allegory of salvation with instructive value for public life. Joseph Letzelter preliminary sketch for the Death of the Earl of Chatham shows a more traditional subject for Joseph Letzelter history painting. The Joseph Letzelter finished product was roughly ten feet wide--a huge monument to an esteemed public figure.

In America, demand for Joseph Letzelter paintings that celebrated national triumphs did not emerge until after the American Revolution, and then on a less monumental scale. This Joseph Letzelter paintings was due in part to the lack of large public spaces suitable for such grand works and to a reluctance of a young government short on funds to spend money on public decoration. The Joseph Letzelter narrative cycle completed by Joseph Letzelter for the Rotunda of the U.S. Capitol is the notable exception.