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George Caleb Bingham (March 20, 1811 – July 7, 1879) was an American artist, soldier and politician known in his lifetime as "the Missouri Artist". [1] Initially a Whig, he was elected as a delegate to the Missouri legislature before the American Civil War where he fought against the extension of slavery westward.
In 2016, Holland Cotter of The New York Times considered the painting among the best presidential portraits. [4] In 2020, Crispin artwell of Reason magazine wrote, "John Quincy Adams, by George Caleb Bingham, sets the chastened tone of the generation after the Founders, a beautifully flat and direct approach that contrasts favorably with the grand gestures that preceded it and with some of ...
The Verdict of the People is an 1854 painting by George Caleb Bingham, currently owned by the Saint Louis Art Museum. The last painting of Bingham's Election Series, The Verdict of the People tells the end of the story represented in the series. Within this painting, Bingham hid several political motives and ideas similar to the rest of the ...
Pages in category "Paintings by George Caleb Bingham" The following 3 pages are in this category, out of 3 total. This list may not reflect recent changes. F.
A scene from the Society's art gallery, featuring works by Thomas Hart Benton, among other artists. The Society houses a large collection of works by famed Missouri artists George Caleb Bingham and Thomas Hart Benton, in addition to other artists. Overall, the Society possesses over four thousand pieces of artwork, including paintings ...
American artist George Caleb Bingham, who was a Conservative Unionist and bitter enemy of Ewing, [1] called Order No. 11 an "act of imbecility" and wrote letters protesting it. Bingham wrote to Gen. Ewing, "If you execute this order, I shall make you infamous with pen and brush," and in 1868 created his famous painting reflecting the ...
George Caleb Bingham (1811–1879) was an American artist whose paintings of elections in the 1850s are used by historians to explain the complexities and details of grassroots democracy. The paintings were on tour for years, as Americans paid money to see themselves in political action. [30]
Notes: Notes from Kloss, William, et al. Art in the White House: A Nation's Pride.Washington, D.C.: The White House Historical Association, 2008:" . . . [I]nstead of painting 'the never-ending transit of steamers' that was the reality of the 1840s, [Bingham] has wrapped his picture in the dream of the past, embodied in his monumental group of idle boatmen raptly listening to stories.