Theorem Painting: Fruit, Bird, and Butterfly1825–184015 3/8 × 18 3/4" (sight)Watercolor on velvetGift of Mrs. William P. Schweitzer1984.13.10Watercolor painting on white velvet support of abundant display of fruit in basket including grapes, oranges, peaches; blue-bird with white breast on leafy branch eating berries, butterfly LS. In brown oval basket with rope-turned edging on flat blue/black marblized base. FRAME: Guilded cov frame, mitered corners and nail construction. White mat liner, backed with black paper adhered to frame with brown tape.1529781084Artist unidentifiedPaintingsThe American Folk Art Museum believes this work to be in the public domain.Labels on back: B: Gallery of Graphic Arts, LTD/1601 York Ave/NY NY 10028/ (212)-448-4731; RS: label taped to back: Theorem/Artist unknown/Late 19th c/watercolor on velvet/16" x 19"/Promised Gift/P78.470.1; LS: "Theorem"/Painting/Gertrude Schweitzer/Stone Hill Farm/Colts Neck, NJ o7722/phone (201) 946-2832; URS: American Federation of ArtsUnited StatesPaintings
Creating still-life compositions of abundant displays of fruit and flowers was a popular pastime for young women in the early nineteenth century. Executed in pastels on paper or watercolor on paper or velvet, these still life paintings were created with the aid of stencils or "theorems." The stencils were cut from heavy paper which had been shellacked and oiled to create a stiff, strong surface. Some of these pieces were sketched free hand as well.
Elizabeth V. Warren and Stacy C. Hollander, "Theorem Painting: Fruit, Bird and Butterfly," Expressions of a New Spirit: Highlights from the Permanent Collection of the Museum of American Folk Art (New York: American Folk Art Museum, 1989), 39Still-life compositions of abundant fruit displays became popular in the second decade of the nineteenth century. Although some paintings were created freehand, most were executed with the aid of stencils. SPpecific formulas of composition and shading were followed resulting in a number of nearly identical examples. The success of the theorem, however, depended very strongly on the skill with which the paint was applied and the judicious addition or substraction of elements in the composition. Theorem painting remained popular until the mid-century, after which only occasional examples are found.18251840 1984 13 1
Creating still-life compositions of abundant displays of fruit and flowers was a popular pastime for young women in the early nineteenth century. Executed in pastels on paper or watercolor on paper or velvet, these still life paintings were created with the aid of stencils or "theorems." The stencils were cut from heavy paper which had been shellacked and oiled to create a stiff, strong surface. Some of these pieces were sketched free hand as well.
Elizabeth V. Warren and Stacy C. Hollander, "Theorem Painting: Fruit, Bird and Butterfly," Expressions of a New Spirit: Highlights from the Permanent Collection of the Museum of American Folk Art (New York: American Folk Art Museum, 1989), 39Still-life compositions of abundant fruit displays became popular in the second decade of the nineteenth century. Although some paintings were created freehand, most were executed with the aid of stencils. SPpecific formulas of composition and shading were followed resulting in a number of nearly identical examples. The success of the theorem, however, depended very strongly on the skill with which the paint was applied and the judicious addition or substraction of elements in the composition. Theorem painting remained popular until the mid-century, after which only occasional examples are found.