Jerusalem from the Mount of Olives
Framed: 82 7/8 × 114 × 6 inches (210.49 × 289.56 × 15.24 cm)
- 216
Goupil’s Gallery, New York, March 27–May 1871.
First Annual Exhibition of the Hartford Art Association, Hartford Art Association, Conn., June 3–22, 1872, no. 1.
People and Places, New Britain Museum of American Art, Conn., August–September 25, 1966, unnumbered.
Frederic Edwin Church, National Collection of Fine Arts, Smithsonian Institution, Washington, D.C., February 12–June 30, 1966 (traveled), no. 137.
A Gallery Collects, Hirschl & Adler Galleries, New York, October 19–November 19, 1977, no. 31.
Kaleidoscope of American Painting: Eighteenth and Nineteenth Centuries, William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Kansas City, Mo., December 2, 1977–January 22, 1978, no. 57.
Close Observation: Selected Oil Sketches by Frederic E. Church from the Collections of the Cooper-Hewitt Museum, the Smithsonian Institution’s National Museum of Design, Smithsonian Institution Traveling Exhibition Service, September 9, 1978–July 27, 1980 (William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Kansas City, Mo., and Cooper-Hewitt Museum only), unnumbered.
National Gallery of Art, Washington, D.C., The Orientalists: Delacroix to Matisse; The Allure of North Africa and the Near East, March 24–October 28, 1984 (traveled), no. 9.
A Bountiful Decade: Selected Acquisitions, 1977–1987; Nelson-Atkins Museum of Art, The Nelson-Atkins Museum of Art, Kansas City, Mo., October 14–December 6, 1987, no. 71.
Bilder aus der Neuen Welt: Amerikanische Malerei des 18. und 19. Jahrhunderts, Staatlichen Museen Preussischer Kulturbesitz, Orangerie des Schlosses Charlottenburg, Berlin, November 22, 1988–May 15, 1989 (traveled), no. 14 (as Blick von Ölberg auf Jerusalem).
Frederic Edwin Church, National Gallery of Art, Washington, D.C., October 8, 1989–March 18, 1990, no. 44.
Made in America: Ten Centuries of American Art, Carnegie Museum of Art, Pittsburgh; Minneapolis Institute of Arts; Nelson-Atkins Museum of Art, Kansas City, Mo.; Saint Louis Art Museum; and Toledo Museum of Art, February 5, 1995–September 22, 1996 (traveled), unnumbered.
Tempus Fugit, Time Flies, Nelson-Atkins Museum of Art, Kansas City, Mo., October 15–December 30, 2000, unnumbered.
Noble Dreams, Wicked Pleasures: Orientalism in America, Sterling and Francine Clark Art Institute, Williamstown, Mass., 1870–1930, June 6, 2000–April 23, 2001 (traveled), no. 2.
To See Jerusalem Before I Die: Lincoln and the Jewish People, The New-York Historical Society, New York City, March 20–June 7, 2015, no cat.
The only pupil of Thomas Cole, Church raised American landscape painting to new heights of grandeur. Spectators flocked to Jerusalem's debut in New York in 1871, often using opera glasses to see its astonishing details more clearly. Church, who also designed the painting's frame, identified Jerusalem as his best work.
To Hon. Timothy Mather Allyn, Hartford, Conn., 1870;
to Susan Pratt Allyn (wife of Timothy Mather Allyn), Hartford, Conn., by descent, 1882;
to Robert Allyn (son of Timothy Mather Allyn and Susan Pratt Allyn), Hartford, Conn., by descent, 1888;
to Alice B. Allyn (wife of Robert Allyn), Hartford, Conn., by descent, 1896;
to Robert J. Allyn (son of Robert Allyn and Alice B. Allyn), Hartford, Conn., by descent, 1922;
to Louise G. Allyn (wife of Robert J. Allyn, later Louise G. Ransom), Hartford, Conn., by descent, 1930;
to Mabel Allyn Babcock (daughter of Robert J. Allyn and Louise G. Allyn) and Harold Ransom (son of Louise G. Allyn Ransom), Hartford, Conn., by descent, 1965;
to (Robert Paul Weimann Jr., Ansonia, Conn., 1966);
to private collection, 1966;
to (Hirschl & Adler Galleries, New York, 1977);
to the Nelson-Atkins Museum of Art, Kansas City, Mo., 1977.
“Fine Arts in New York,” Anglo-American Times (London), February 26, 1870, 13.
“Fine Arts in New York,” Anglo-American Times (London), April 30, 1870, 15.
“City and Vicinity,” New York Evening Mail, March 25, 1871, 3.
“Fine Arts,” New York Times, March 26, 1871, 3.
“Art Gossip,” New York Evening Mail, March 27, 1871, 1.
“Mr. F. E. Church’s ‘Jerusalem,’” New York Evening Post, March 28, 1871, 4.
“Art Notes,” Brooklyn Daily Eagle, March 30, 1871, 2.
“Fine Arts: Church’s Jerusalem,” New-York Daily Tribune, March 31, 1871, 5.
“‘Jerusalem.’ The Latest Important Work by Frederick [sic] E. Church,” New York Evening Mail, March 31, 1871, 1.
“Art Matters: Church’s Jerusalem,” New York World, April 2, 1871, 5.
“Fine Arts,” New York Times, April 2, 1871, 3.
“Art Notes: Jerusalem, by Church,” New York Herald, April 3, 1871, 5.
“Fine Arts: Miscellaneous Gossip,” New York Evening Telegram, April 10, 1871, 2.
Fanchon, “Art and Artists: Church’s Painting of Jerusalem,” New York Independent 23 (April 20, 1871), 2.
“The Religious Press,” New-York Evangelist, April 20, 1871, 2.
“Home and Foreign Gossip,” Harper’s Weekly 15 (April 22, 1871), 363.
“Church’s Picture of Jerusalem,” New York Evening Post, April 24, 1871, 2.
“Art,” Chicago Tribune, April 30, 1871, 6.
“Fine Arts,” New York Evening Post, May 7, 1871, 1.
“Art Notes,” New York Evening Post, May 23, 1871, 1.
Church to J. F. Weir, June 8, 1871, Olana State Historic Site, N.Y.
“Art Notes,” Appletons’ Journal of Literature, Science and Art 5 (June 10, 1871), 688.
“Art,” The Eclectic Magazine of Foreign Literature 13 (June 1871), 765.
“The Arts,” Christian Union (New York), January 31, 1872, 121.
“Fine Arts—The Drama,” New-York Daily Tribune, March 25, 1872, 5.
“News,” New York Commercial Advertiser, March 29, 1872, 1.
“‘The Parthenon,’ by Mr. F.W. [sic] Church,” New York Times, March 30, 1872, 5.
“Art Gossip,” New York Evening Mail, April 3, 1872, 1.
“Occasional Notes,” Christian Union (New York), April 3, 1872, 305.
“Table-Talk,” Appletons’ Journal of Literature, Science and Art, April 20, 1872, 443.
“Fine Arts,” New York Evening Post, May 7, 1872, 1.
“The Exhibition of Fine Arts,” Hartford Evening Post, May 17, 1872, 2.
“Hartford Art Association,” Hartford Daily Courant, June 4, 1872, 2.
“The Art Exhibition,” Hartford Evening Post, June 4, 1872, 3.
“The Art Exhibition,” Hartford Daily Times, June 6, 1872, 2.
“The Exhibition of the Hartford Art Association,” Hartford Evening Post, June 6, 1872, 2.
“The News,” Hartford Daily Times, June 10, 1872, clipping, NAMA curatorial files.
“The Art Exhibition,” Hartford Daily Courant, June 12, 1872, 2.
Hartford Daily Times, June 22, 1872, 2.
Catalogue of the First Annual Exhibition of the Hartford Art Association, 1872, exh. cat. (Hartford, Conn.: Geo. L. Coburn, 1872), unpaginated.
Robert Morris, Freemasonry in the Holy Land; or, Handmarks of Hiram’s Builders (New York: Masonic Publishing Co., 1872; reprint, New York: Arno, 1977), 370.
“National Academy of Design,” New York World, April 27, 1874, 5.
“Church,” Art Journal (New York) 4 (March 1878), 67.
“National Academy of Design,” New York World, April 27, 1879, 5.
Henry W. French, Art and Artists in Connecticut (Boston: Lee and Shepard, 1879), 130, 134.
George W. Sheldon, American Painters (New York: D. Appleton and Company, 1879), 14.
G. W. Sheldon, American Painters, enl. ed. (New York: D. Appleton and Company, 1881), 11, 14.
Walter Montgomery, American Art and American Art Collections (Boston: E. W. Walker & Co., 1889), 2:774.
Virginia Keech, “Church,” Corcoran Art Journal 1 (May 1893), 13.
“Frederic Church, Artist, Is Dead,” New York Herald, April 8, 1900, 5.
“F. E. Church,” Boston Record, April 9, 1900, 6.
“Frederic Edwin Church, Noted Artist Native of Hartford, Dead,” Daily Hartford Courant, April 9, 1900, 4.
“F. E. Church Dies in New York at a Ripe Age,” Pacific Commercial Advertiser (Honolulu, Hawaii), April 25, 1900, 10.
“Church’s Work on Exhibition,” International Studio Supplement 11 (September 1900), 13–16.
Wheeler Preston, American Biographies (New York: Harper Brothers, 1940), 166.
David Carew Huntington, “Frederic Edwin Church, 1826–1900: Painter of the Adamic New World Myth,” Ph.D. diss., Yale University, 1960, 198–99.
Florence Berkman, “Nine-fi ve [sic] Years Ago Crowds Flocked to View Painting,” Hartford Times, August 13, 1966, 18.
David C. Huntington, The Landscapes of Frederic Edwin Church: Vision of an American Era (New York: George Braziller, 1966), 96, 97–101, 104, 114, 129, fig. 84.
Frederic Edwin Church, exh. cat. (Washington, D.C.: Smithsonian Institution Press, 1966), 16–17, 27, 36, 72, 78.
Elizabeth Lindquist-Cock, “Frederic Church’s Stereographic Vision,” Art in America 61 (September–October 1973), 73–74.
“Kaleidoscope of American Painting,” Wednesday Magazine (Overland Park, Kans.), November 30, 1977, 15.
Donald Hoffmann, “American Exhibit Unveils 5 New Gifts to Nelson,” Kansas City Times, December 2, 1977, 1A, 8A.
“Pictures at an Exhibition,” Independent (Kansas City, Mo.), December 3, 1977, 16.
“Kemper Gifts to the Nelson,” Kansas City Times, December 6, 1977, 34.
“American Painting Exhibit Comes to Nelson Gallery,” Johnson County Sun (Overland Park, Kans.), December 9, 1977, 5B.
“Kaleidoscope of American Painting,” Independent (Kansas City, Mo.), December 10, 1977, 4.
Donald Hoffmann, “Images from a New Land,” Kansas City Star, December 11, 1977, 1D.
Gallery Events (William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts), December 1977, unpaginated.
Elizabeth Lindquist-Cock, The Influence of Photography on American Landscape Painting, 1839–1880 (New York: Garland Publishing, 1977), 111, 113–15, 201.
A Gallery Collects, exh. cat. (New York: Hirschl & Adler Galleries, 1977), unpaginated.
Kaleidoscope of American Painting: Eighteenth and Nineteenth Centuries. exh. cat. (Kansas City, Mo.: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1977), 48–49.
Calendar (William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts), January 1978, unpaginated.
“Art across North America,” Apollo 107 (April 1978), 328.
William L. McCorkle, “Nelson Gallery Sets Acquisition Record,” Kansas City Star, July 16, 1978, 2B.
Theodore E. Stebbins Jr., Close Observation: Selected Oil Sketches by Frederic E. Church from the Collections of the Cooper-Hewitt Museum, the Smithsonian Institution’s National Museum of Design, exh. cat. (Washington, D.C.: Smithsonian Institution Press, 1978), 40.
Mack Alexander, “Painting in Nelson Art Gallery Aided by Auction of ‘Icebergs,’” Kansas City Times, October 27, 1979, 5B.
Beverly Haskins, “Church Exhibition at Nelson,” Overland Park Sun (Shawnee Mission, Kans.), November 16, 1979, 22.
Matthew Baigell, Dictionary of American Art (New York: Harper and Row, 1979), 69.
“Close Observations: Selected Oil Sketches by Frederic E. Church,” Calendar (William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts), January 1980, unpaginated (as View of Jerusalem).
Ralph T. Coe, “Valuable Gifts,” letter to the editor, Kansas City Star, May 7, 1980, 18A.
Gerald L. Carr, Frederic Edwin Church: The Icebergs, exh. cat. (Dallas: Dallas Museum of Fine Arts, 1980), 9.
Ross E. Taggart, “American Paintings in the Nelson- Atkins Museum of Art, Kansas City, Missouri,” Antiques 122 (November 1982), 1032, 1036, 1038.
Edward J. Sozanski, “‘Orientalists’ Exhibit Delves Deep into 19th Century’s Beguiling Near East,” Chicago Tribune, August 2, 1984, 11H.
Michael Brenson, “When the Middle East Captivated Western Painters,” New York Times, August 12, 1984, H27.
Helen Silver, “Jerusalem Scenes Featured in Gallery Exhibit of Orientalist Art,” St. Louis Jewish Light, August 15, 1984, 18.
D. Dodge Thompson, “American Artists in North Africa and the Middle East, 1797–1914,” Antiques 126 (August 1984), 308–9.
Mary Jane Bushnaq, “Orientalist Art Exhibit Reveals Nineteenth-Century Stereotypes of North Africa and the Middle East,” Saudi Report (Washington, D.C.), September 10, 1984, 4.
Elaine Evans Dee, To Embrace the Universe: Drawings by Frederic Edwin Church, exh. cat. (Yonkers, N.Y.: Hudson River Museum, 1984), 88–89.
MaryAnne Stevens, ed., The Orientalists: Delacroix to Matisse; The Allure of North Africa and the Near East, exh. cat. (Washington, D.C.: National Gallery of Art, 1984), 121–22, 155.
Donald Hoffmann, “Kemper Family Donates $1.5 Million Portrait,” Kansas City Star, October 12, 1986, 12A.
William H. Gerdts and James L. Yarnall, The National Museum of American Art’s Index to American Art Exhibition Catalogues: From the Beginning through the 1876 Centennial Year (Boston: G. K. Hall, 1986), 715.
John Davis, “Frederic Church’s ‘Sacred Geography,’” Smithsonian Studies in American Art 1 (Spring 1987), 78–79, 86–90, 92, 95–96.
Bountiful Decade: Selected Acquisitions, 1977–1987. exh. cat. (Kansas City, Mo.: Nelson–Atkins Museum of Art, 1987), 164–65, 261.
Ellen R. Goheen, The Collections of the Nelson-Atkins Museum of Art (New York: Harry N. Abrams, in association with Nelson-Atkins Museum of Art, 1988), 115, 120–22.
Thomas W. Gaehtgens, Bilder aus der Neuen Welt: Amerikanische Malerei des 18. und 19. Jahrhunderts, exh. cat. (Munich: Prestel-Verlag, 1988), pl. 14 (as Blick von Ölberg auf Jerusalem).
Michael Kilian, “Canvasing the Wilds: Frederic Church’s Landscapes Brought the Americas Home,” Chicago Tribune, October 15, 1989, sec. 5, 2.
Joe Sherman, “In the Halcyon Days When Pictures of the Land Came First,” Smithsonian 20 (October 1989), 100.
Louise Sweeney, “Grand Views of a Lost ‘Eden’: Frederic Church’s Panoramic Oils Capture the Vistas That Awed 19th-Century Travelers,” Christian Science Monitor, November 15, 1989, 11.
“Frederic Edwin Church Landscapes on Display at the National Gallery,” Antiques and the Arts Weekly (Newton, Conn.), November 24, 1989, 81.
Franklin Kelly, “Frederic Church and the Enterprise of Landscape Painting,” Antiques 136 (November 1989), 1121.
Joel D. Sweimler, “Amelia B. Edwards (1831–1892),” Crayon 22 (Fall 1989), 14.
Sidney Tillim, “On Gérôme, Bouguereau, Ingres and ‘They Died with Their Boots On’: Notes from a Journal,” Artforum 28 (December 1989), 113.
John R. Peters-Campbell, “The Big Picture and the Epic American Landscape,” Ph.D. diss., Cornell University, 1989, xii, 135–36, 138–39.
Franklin Kelly et al., Frederic Edwin Church, exh. cat. (Washington, D.C.: National Gallery of Art, 1989), 15, 66, 120, 168–69, 203.
Edwin Howard, “Frederic Church Landscapes Foreshadowed Cinerama,” Memphis Business Journal 11 (8–12 January 1990), 22.
Marie Louise Kane, “Frederic Edwin Church: His Painting Still a Marvel,” Antiques and the Arts Weekly (Newton, Conn.), January 19, 1990, 112.
Ken Johnson, “Rediscovering Nineteenth Century American Art Part II: The Reputation of Frederic Edwin Church,” Hudson Valley 20 (January 1990), 41.
Stephen May, “Standing Room Only: The Art of Frederic Church,” American History Illustrated 24 (January–February 1990), 64.
Yuri Yanchyshyn, “Picture Framing I: A Frame Designed by Frederic Church,” Museum Management and Curatorship 9 (June 1990), 220–21.
The Society of Fellows Silver Anniversary (Kansas City, Mo: Nelson- Atkins Museum of Art, 1990), unpaginated.
John Davis, “Picturing Palestine: The Holy Land in Nineteenth-Century American Art and Culture,” Ph.D. diss., Columbia University, 1991, 241–42, 245, 247–54, 261, 264.
Henry Adams, Handbook of American Paintings in the Nelson-Atkins Museum of Art (Kansas City, Mo.: Nelson-Atkins Museum of Art, 1991), 4, 89–90.
Roger Ward and Patricia J. Fidler, eds. The Nelson-Atkins Museum of Art: A Handbook of the Collections. 6th ed. (New York: Hudson Hills Press, in association with Nelson-Atkins Museum of Art, 1993), 228, 235.
Michael Churchman and Scott Erbes, High Ideals and Aspirations: The Nelson-Atkins Museum of Art 1933–1993 (Kansas City, Mo.: Nelson-Atkins Museum of Art, 1993), 100–101.
Gerald M. Ackerman, American Orientalists (Courbevoie: ACR, Édition Internationale, 1994), 10, 55, 63–64, 74, 156.
Gerald L. Carr, Frederic Edwin Church: Catalogue Raisonné of Works of Art at Olana State Historic Site (New York: Cambridge University Press, 1994), 1:249, 305, 315, 317, 344, 347, 369, 373, 391–92, 395, 396n4, 493, 508.
Alexandra Bellos, “American Dream,” Riverfront Times (Saint Louis, Mo.), July 26, 1995, 5.
Judy Szewczak, “‘Made in America’—Another Toledo Coup,” Lagrange Street News (Toledo, Ohio), December 1995, 6.
Kathryn C. Johnson, ed., Made in America: Ten Centuries of American Art, exh. cat. (New York: Hudson Hills Press, 1995), 61.
Dita Amory and Marilyn Symmes, Nature Observed, Nature Interpreted: Nineteenth- Century American Landscape Drawings and Watercolors from the National Academy of Design and Cooper-Hewitt National Design Museum, Smithsonian Institution, exh. cat. (New York: National Academy of Design with Cooper-Hewitt National Design Museum, Smithsonian Institution, 1995), 46.
Sally Vallongo, “Another Hit Winds Down,” Toledo (Ohio) Blade, January 5, 1996, 19.
Donald Miller, “Art in America,” Pittsburgh Post-Gazette, July 5, 1996, 20G.
John Davis, The Landscape of Belief: Encountering the Holy Land in Nineteenth- Century American Art and Culture (Princeton, N.J.: Princeton University Press, 1996), xi, 61, 179, 185–93, 196–97, 200, 212, 240n42, 241nn51, 53–57.
Franklin Kelly, “Frederic Edwin Church,” in American Paintings of the Nineteenth Century, Part I (Washington, D.C.: National Gallery of Art, 1996), 62.
Sarah Walker Schroth, “David Roberts in Context,” in Jerusalem and the Holy Land Rediscovered: The Prints of David Roberts (1796–1864), exh. cat. (Durham, N.C.: Duke University Art Museum, 1996), 45.
Gail E. Husch, “Review of John Davis’s The Landscape of Belief: Encountering the Holy Land in Nineteenth-Century American Art and Culture,” Art Bulletin 79 (September 1997), 555.
David Morgan, “Review of John Davis, The Landscape of Belief: Encountering the Holy Land in Nineteenth-Century American Art and Culture,” Archives of American Art Journal 37 (1997), 20–21, 23.
Gerald Carr, “Syria by the Sea, 1873,” in American Paintings in the Detroit Institute of Arts (New York: Hudson Hills Press, 1997), 2:52, 55.
Efrat Adler Porat, “Borrowing Jerusalem: Sacred Landscape as Bearer of Meaning in 19th Century American Art,” in Jerozolima w Kulturze Europejskiej, ed. Piotra Paszkiewicza and Tadeusza Zadroz.nego (Warsaw, Poland: Instytut Sztuki Polskieji Akademii Nauk, 1997), 520, 525–26.
Kristin Schwain, “Review of John Davis’s The Landscape of Belief,” Cresset: A Review of Literature, Arts, and Public Affairs 61 (May 1998), 47.
Eleanor Jones Harvey, The Painted Sketch: American Impressions from Nature, 1830–1880, exh. cat. (Dallas: Dallas Museum of Art, 1998), 86, 97n65.
Gail McGrew Eifrig, “In Luce Tau: Thy Gardens and Thy Gallant Walks,” Cresset: A Review of Literature, Arts, and Public Affairs 62 (June–July 1999), 3.
David Morgan, “Notes on Covers,” Cresset: A Review of Literature, Arts, and Public Affairs 62 (June– July 1999), 51, cover.
“Rich History of Orientalism Fabric of Traveling Exhibit,” New Jersey Herald, May 26, 2000, 6.
“The Clark Art Institute Surveys American Fantasies of the ‘Exotic’ Middle East,” New England Antiques Journal 18 (May 2000), 27.
Charles Bonenti, “The Orient as an Idea: Getting at the Roots of Our Attitudes toward the East,” Berkshire Eagle (Pittsfield, Mass.), June 9, 2000, D4.
Karen Bjornland, “Noble Dreams, Wicked Pleasures,” Sunday Gazette (Schenectady, N.Y.), June 18, 2000, G1.
Don Stewart, “Orientalism Mirrored at the Clark,” Recorder (Greenfield, Mass.), June 26, 2000, 17.
John Brent, “Oriental Dreams: America’s Fascination with the Exotic East,” Niskayuna Journal (Schenectady, N.Y.), June 30, 2000, 14.
Timothy Cahill, “Orient Expressed,” Times Union (Albany, N.Y.), July 23, 2000, 12.
Alice Fuld, “Bringing Images of the Orient to the Clark Art Institute,” Keene (N.H.) Sentinel, July 27, 2000, 13.
Christine Temin, “Getting Oriented,” Boston Globe, July 30, 2000, N1.
Gloria Russell, “Appealing Look at Orientalism,” Sunday Republican (Springfield, Mass.), August 6, 2000, E2.
“American Orientalism Exhibit on Display at Clark Art Institute,” Bristol (Conn.) Press, August 10, 2000, D3.
Holland Cotter, “An Era of Exotic Mirages,” New York Times, August 11, 2000, E31, E33.
Eric Gibson, “The Gallery: When It Was Chic to Paint Sheiks,” Wall Street Journal, August 11, 2000, W6.
Souren Melikian, “The Strange Art of Mistaken Identity,” International Herald Tribune (Paris), August 12–13, 2000, 8.
Alice Fuld, “When Americans Learned to Do the ‘Hoochy-Kootchy,’” Sunday Telegraph (Nashua, N.H.), August 13, 2000, H1.
Ken Shulman, “Eastern Exposure,” Museums Boston 3 (Summer 2000), 54.
Stephen May, “Noble Dreams, Wicked Pleasures: Orientalism in America, 1870–1930,” Antiques and the Arts Weekly, September 1, 2000, 68, 70.
Doug Steward, “Imagining the Orient,” Smithsonian 31 (September 2000), 63.
David Farmer, “Exhibition Review, American Orientalism,” Apollo 152 (November 2000), 55–56.
Gerald L. Carr, In Search of the Promised Land: Paintings by Frederic Edwin Church, exh. cat. (New York: Berry-Hill Galleries, 2000), 41–42, 92–93, 97–98, 118nn37, 41.
Jan Schall, ed., Tempus Fugit, Time Flies, exh. cat. (Kansas City, Mo.: Nelson-Atkins Museum of Art, 2000), 16, 244–49, 331.
Holly Edwards, Noble Dreams, Wicked Pleasures: Orientalism in America, 1870–1930, exh. cat. (Princeton, N.J.: Princeton University Press, in association with the Sterling and Francine Clark Art Institute, 2000), xi, 2, 23–24, 54, 62, 64–66, 123–27, 146, 177, 190.
R. Crosby Kemper, Banking on Art: Fifty Years of Collecting (Kansas City, Mo.: R. Crosby Kemper Jr., 2000), 26–27.
Gérard-Georges Lemaire, L’Univers des Orientalistes (Paris: Éditions Place des Victoires, 2000), 178.
Stephen May, “America and the ‘Orient,’” American Arts Quarterly 4 (Winter 2001), 16–17.
John Davis, “‘Each mouldering ruin recalls a history’: Nineteenth-Century Images of Jerusalem and the American Public,” in America and Zion: Essays and Papers in Memory of Moshe Davis, ed. Eli Lederhendler and Jonathan D. Sarna (Detroit: Wayne State University Press, 2002), 65–66, 68–70, 73nn19, 24–25.
Sally M. Promey, “The ‘Return’ of Religion in the Scholarship of American Art,” Art Bulletin 85 (September 2003), 589.
Alex Varughese, ed., Discovering the Old Testament: Story and Faith (Kansas City, Mo.: Beacon Hill Press, 2003; repr. 2014), 4, cover.
John Wilmerding, Signs of the Artist: Signatures and Self-Expression in American Paintings (New Haven: Yale University Press, 2003), 74.
Margaret C. Conrads, “Thomas Cole: The Old Mill at Sunset,” American Art Review 17 (March 2005), 165.
Kevin J. Avery and John Wilmerding, Treasures from Olana: Landscapes by Frederic Edwin Church (Ithaca, NY: Cornell University Press, 2005), 52 (repro.).
John K. Howat, Frederic Church (New Haven: Yale University Press, 2005), 135, 158 (erroneous repro.), 159.
Margaret C. Conrads, ed. The Collections of the Nelson-Atkins Museum of Art: American Paintings to 1945 (Kansas City, Mo.: The Nelson-Atkins Museum of Art, 2007), 1: 8 (repro.), 21, 184-93 (repro.), 2: 86-90 (repro.).
Deborah Emont Scott, ed., The Nelson-Atkins Museum of Art: A Handbook of the Collection, 7th ed. (Kansas City, MO: Nelson-Atkins Museum of Art, 2008), 155, 164 (repro.).
BYU Studies 47, no. 1 (2008), cover.
American Art (Christie’s: New York, December 5, 2013), 45 (repro.).
Julia B. Rosenbaum, “Frederic Edwin Church in an Era of Expedition,” American Art 29, no. 2 (Summer 2015), 30-31, (repro.).
Sandee Brawarsky, “’With Malice Toward None’ Exhibit at New-York Historical Society reveals rich relationship between Abraham Lincoln and the Jews,” The Jewish Week (New York), March 16, 2015, http://www.thejewishweek.com/arts/museums/malice-toward-none.
Deborah Solomon and Gisele Regatao, “Lincoln, the Jews and Sore Feet,” WNYC News (New York), March 20, 2015, http://www.wnyc.org/story/lincoln-jews-and-sore-feet/.
Jennifer Raab, Frederic Church: the Art and Science of Detail, (New Haven: Yale University Press, 2015), 150 (repro.), 151.
