This painting predates Alexander's travels in Europe, where he would study the great monuments of art and refine his technique. Largely forgotten now, it has been argued that Duff should rightly be considered the first First Lady of the American Stage, having received her theatrical training solely in America. Though born in England and first appearing on stage as a dancer in Ireland, Duff was thirty and living in New York when this painting was completed. At the peak of her career, Duff was considered as fine a tragic actress as the earlier renowned English actress Sarah Siddons (immortalized as the "Tragic Muse" by Sir Joshua Reynolds in 1783). DeWitt Allen Green, 1993.2įrancis Alexander was twenty-five when he painted Mary Ann Duff. Though light streams in through an open window, the monk’s body also glows with an inner light, emphasizing his simple holiness.įrancis Alexander (American, 1800-1880) Portrait of Mary Ann Duff, 1825 Oil on canvas 30 1/4 x 24 in. In the print-as in the painting-the influence of Old Masters, in particular El Greco and Francisco de Zurbarán, is evident in the monk’s flowing, voluminous robes and the flickering quality of the light.
It depicts Brother Peter Haberlin, an octogenarian Franciscan friar who was regarded as the last link between the old California missionaries and the modern friars. It is based on a similar painting entitled I Walk To and Fro through Civilization and I Talk as I Walk (Follow Me, the Monk) (1926-7, Art Institute of Chicago). This lithograph was commissioned by Associated American Artists, a gallery which catered to a middle-class audience largely by selling prints made by famous painters. His titles-long and poetic-usually emerged after the paintings were finished, once he truly understood what they were about. He worked meticulously and over a period of months or even years, building elaborate sets to stage his haunting compositions. His paintings, which are usually classified as “magic realist,” frequently depict weighty and macabre themes, including death, aging, and the inevitable decline and decay of the body, which he regarded as a prison for the soul. From an artistic family, he at first resisted becoming an artist before realizing that he had both talent for and interest in painting. Ivan Le Lorraine Albright occupies a unique place in the history of American art. print Purchased with the Wally Findlay Acquisitions Fund, 1992.21 A 2019-2022 grant from the Henry Luce Foundation has enabled research and documentation of the collection, with the goal of making it fully available for teaching and research, both digitally and in person. This growth reflects the evolving needs of the teaching collection, as well as the collecting interests of Rollins alumni, members of the community, and other RMA supporters. The collection is growing, with recent acquisitions including works by nineteenth and early-twentieth century women artists, early art photography, and American modernism, both abstract and figurative. With particular strengths in nineteenth century landscape, the Ashcan School, and printmaking, the American collection is an excellent resource for teachers and students, and also forms a key component of permanent collection exhibitions.
Including oil paintings, sculptures in marble and bronze, drawings, prints, and photographs as well as mixed media works, the collection tells the story of American art from its early portrait-focused days to the heights of modernism. The American collection is a core component of the Rollins Museum of Art's mission as a teaching museum.
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