Aurora1818–182221 3/8 x 24 5/8 "
Frame: 24 7/8 x 28 3/8 x 2 1/4 "Watercolor on silk, with applied gold foil and paper label, in original gilded wood frameGift of Ralph Esmerian2005.8.460Large format watercolor of Aurora as Neoclassical female figure reclining/sitting in eagle drawn chariot - red with gold star decoration. Surrounded by 4 cherubs/angels (putti?) in clouds. Over seascape with pink horizon, sailing vessel with 5 masts left of center, village with gold molded and beaded frame.1545163355Artist unidentifiedPaintingsThe American Folk Art Museum believes this work to be in the public domain. Bottom center, applied paper label printed: Italic: Hail, bright Aurora, fair Goddess of the Morn!; Roman: Around thy splendid Car, the smiling hours submissive await attendance, around, -and reilluminate the face of nature with thy refulgent beams, and from the arch of heaven banish night. Printed paper label on back: STILLMAN LOTHROP / LOOKIN GLASS SHOP / NO. 71 MARKET STREET, BOSTONUnited StatesPaintingsschoolgirlThere is a strong element of apotheosis in this homage to Aurora, goddess of the morn. Such imagery became popular after the death of George Washington, who was sometimes pictured in mythological terms ascending to heaven. This is one of ten related watercolors from an unidentified school, most with Massachusetts histories and five of which feature similar renditions of Aurora. In each the goddess is in a chariot drawn by two eagles or horses and embellished with collaged gold paper stars. The painting on silk is related to other schoolgirl arts such as mourning pieces, which also included townscapes. Symbolizing earthly existence, the main drama of such projects suggested leaving this realm for the rewards of the world to come. The poem, whose source is not yet identified, is printed on paper and affixed to the silk surface. Aurora has survived in its original frame with a label by the Boston concern Stillman Lothrop. The address on the label dates the watercolor between 1818 and 1822.
Religious, historical, and mythological themes were deemed appropriate topics for schoolgirls as they perfected the ornamental arts. Other pieces belonging to this group relate the biblical story of Jephthah’s Rash Vow as well as Naiads, a type of nymph from classical mythology.
Stacy C. Hollander, “Aurora,” exhibition label for Self-Taught Genius: Treasures from the American Folk Art Museum. Stacy C. Hollander and Valérie Rousseau, curators. New York: American Folk Art Museum, 2014.
This painting on silk is one of five renditions of Aurora attributed to an unidentified New England girls’ school. Each version displays an unusual use of gilded paper collage. No common source has yet been determined for these depictions, nor has the verse been identified.
Skill in ornamental accomplishments was considered an indication of status and thus a desirable aspect of a girl’s education through the early decades of the nineteenth century. Classical themes were deemed to be edifying as well as fashionable, and the images were usually traced or copied from prints, or supplied by a teacher. The goddess Aurora was especially popular as a subject for schoolgirl art. She was also used by professional ornamental artists, who painted the image on timepieces and looking glasses.
Stacy C. Hollander, "Aurora," exhibition label for Jubilation|Rumination: Life, Real and Imagined. Stacy C. Hollander, curator. New York: American Folk Art Museum, 2012.There is a strong element of apotheosis in this homage to Aurora, goddess of the morn. Such imagery became popular after the death of George Washington, who was sometimes pictured in mythological terms ascending to heaven. This is one of ten related watercolors from an unidentified school, most with Massachusetts histories and five of which feature similar renditions of Aurora. In each the goddess is in a chariot drawn by two eagles or horses and embellished with collaged gold paper stars. The painting on silk is related to other schoolgirl arts such as mourning pieces, which also included townscapes. Symbolizing earthly existence, the main drama of such projects suggested leaving this realm for the rewards of the world to come. The poem, whose source is not yet identified, is printed on paper and affixed to the silk surface. Aurora has survived in its original frame with a label by the Boston concern Stillman Lothrop. The address on the label dates the watercolor between 1818 and 1822.
Religious, historical, and mythological themes were deemed appropriate topics for schoolgirls as they perfected the ornamental arts. Other pieces belonging to this group relate the biblical story of Jephthah’s Rash Vow as well as Naiads, a type of nymph from classical mythology.
Stacy C. Hollander, “Aurora,” exhibition label for Self-Taught Genius: Treasures from the American Folk Art Museum. Stacy C. Hollander and Valérie Rousseau, curators. New York: American Folk Art Museum, 2014.
Object information is a work in progress and may be updated with new research. Records are reviewed and revised, and the American Folk Art Museum welcomes additional information.
To help improve this record, please email photoservices@folkartmuseum.org18181822 2005 8 46 schoolgirlThere is a strong element of apotheosis in this homage to Aurora, goddess of the morn. Such imagery became popular after the death of George Washington, who was sometimes pictured in mythological terms ascending to heaven. This is one of ten related watercolors from an unidentified school, most with Massachusetts histories and five of which feature similar renditions of Aurora. In each the goddess is in a chariot drawn by two eagles or horses and embellished with collaged gold paper stars. The painting on silk is related to other schoolgirl arts such as mourning pieces, which also included townscapes. Symbolizing earthly existence, the main drama of such projects suggested leaving this realm for the rewards of the world to come. The poem, whose source is not yet identified, is printed on paper and affixed to the silk surface. Aurora has survived in its original frame with a label by the Boston concern Stillman Lothrop. The address on the label dates the watercolor between 1818 and 1822.
Religious, historical, and mythological themes were deemed appropriate topics for schoolgirls as they perfected the ornamental arts. Other pieces belonging to this group relate the biblical story of Jephthah’s Rash Vow as well as Naiads, a type of nymph from classical mythology.
Stacy C. Hollander, “Aurora,” exhibition label for Self-Taught Genius: Treasures from the American Folk Art Museum. Stacy C. Hollander and Valérie Rousseau, curators. New York: American Folk Art Museum, 2014.
This painting on silk is one of five renditions of Aurora attributed to an unidentified New England girls’ school. Each version displays an unusual use of gilded paper collage. No common source has yet been determined for these depictions, nor has the verse been identified.
Skill in ornamental accomplishments was considered an indication of status and thus a desirable aspect of a girl’s education through the early decades of the nineteenth century. Classical themes were deemed to be edifying as well as fashionable, and the images were usually traced or copied from prints, or supplied by a teacher. The goddess Aurora was especially popular as a subject for schoolgirl art. She was also used by professional ornamental artists, who painted the image on timepieces and looking glasses.
Stacy C. Hollander, "Aurora," exhibition label for Jubilation|Rumination: Life, Real and Imagined. Stacy C. Hollander, curator. New York: American Folk Art Museum, 2012.There is a strong element of apotheosis in this homage to Aurora, goddess of the morn. Such imagery became popular after the death of George Washington, who was sometimes pictured in mythological terms ascending to heaven. This is one of ten related watercolors from an unidentified school, most with Massachusetts histories and five of which feature similar renditions of Aurora. In each the goddess is in a chariot drawn by two eagles or horses and embellished with collaged gold paper stars. The painting on silk is related to other schoolgirl arts such as mourning pieces, which also included townscapes. Symbolizing earthly existence, the main drama of such projects suggested leaving this realm for the rewards of the world to come. The poem, whose source is not yet identified, is printed on paper and affixed to the silk surface. Aurora has survived in its original frame with a label by the Boston concern Stillman Lothrop. The address on the label dates the watercolor between 1818 and 1822.
Religious, historical, and mythological themes were deemed appropriate topics for schoolgirls as they perfected the ornamental arts. Other pieces belonging to this group relate the biblical story of Jephthah’s Rash Vow as well as Naiads, a type of nymph from classical mythology.
Stacy C. Hollander, “Aurora,” exhibition label for Self-Taught Genius: Treasures from the American Folk Art Museum. Stacy C. Hollander and Valérie Rousseau, curators. New York: American Folk Art Museum, 2014.
Object information is a work in progress and may be updated with new research. Records are reviewed and revised, and the American Folk Art Museum welcomes additional information.
To help improve this record, please email photoservices@folkartmuseum.org