{"object":[{"sourceId":{"label":"Source ID","value":"3395"},"copyright":{"label":"Copyright","value":"The American Folk Art Museum believes this work to be in the public domain."},"creditline":{"label":"Credit Line","value":"Gift of Ralph Esmerian"},"endDate":{"label":"End Date","value":"1830"},"sortNumber":{"label":"Sort Number","value":"2005     8   49"},"invno":{"label":"Accession number","value":"2005.8.49"},"description":{"label":"Description","value":"Stencil and freehand painting of two figures LS standing under grape arbor and behind marble plinth with pitcher and glass on top. Both figures with (P) right arm crooked at elbow. Painting divinded by tree with birds. RS picture of building with five steeples, birds roosting; tree RS, animals and vases across bottom. hands raised"},"medium":{"label":"Medium","value":"Watercolor on velvet"},"geographyPlaceregion":{"label":"Place/Region","value":""},"media":{"label":"Media","value":{"mediaURL":"https://collection.folkartmuseum.org/internal/media/dispatcher/3002/full","mediaDepartment":"Object Photographs","mediaType":"Image","mediaId":"3002"}},"title":{"label":"Title","value":"Theorem Painting: Charles Stephen Morgan and Alcinda Gibson Morgan"},"geographyCity":{"value":""},"textEntriesWebsitedisplaytext":{"value":["portrait","Kopp: \"In this piece, dated 1830,\" Charles Stephen Morgan is seen with the same woman who appears in a later piece. Her initials can be seen on the yellow vase. We presume they were engaged at the time of this portrait, as they were married in 1833. Charles Morgan was a well known politician and orator and took part in the General Convention of the Commonwealth of Virginia in 1829-1830. Perhaps this scene represents a moment from that periodin history. The Abby Aldrich Rockefeller Folk Art Collection includes a companion piece, \"Morgan Addressing His Friends,\" done circa 1838. The GRrrewe Creek Mound which is pictured in the center of the protrait was explored and publicized in 1838. Charls S. Morgan was active in the preservation of historica Virginia sites. The 1830 portrait is signed \"Martha M. Graham,\" and we believe she was the artist of both portraits.\"","Theorem","This is one of two similar paintings on velvet that depict Virginian Charles Stephen Morgan (1799-1859) standing at a podium with a pitcher and a glass, probably in the act of addressing a crowd. Morgan achieved fame at a young age as a talented politician and gifted orator. He was born near Morgantown, Virginia (then West Virginia), and represented Monongalia County in the Virginia House of Delegates in 1820, before he was twenty-one. He served as state senator from 1824 until 1832 and distinguished himself at the Virginia Convention of 1829\u20131830. In 1832, however, Morgan abandoned politics to pursue a cause in which he deeply believed: prison reform. He became superintendent of the Virginia State Penitentiary and devoted himself to improving conditions for prisoners over the next twenty-seven years. He was also an early preservationist and was instrumental in maintaining historic sites such as Jamestown Island, the location of the first permanent English settlement.This unusual work is a combination of freehand painting and theorem painting with stencils. The unconventional composition shows Morgan standing beside a woman, probably Alcinda Gibson Moss, whom he married in 1833. They wave to an unseen audience, and Morgan holds a book over the side of the podium that bears the date 1830, the year that ended his delegation to the Virginia Convention. The tall, steepled building on the right has not been identified but resembles a church more than the state penitentiary where Morgan devoted so many years. The two urns with flowers at the bottom flank a branching tree and, combined with other images of abundance and fertility, may represent the union of Morgan and Moss, which resulted in the births of seven children.Stacy C. Hollander, \"Charles Stephen Morgan and Alcinda Gibson Morgan,\" in American Radiance: The Ralph Esmerian Gift to the American Folk Art Museum (New York: Harry N. Abrams in association with American Folk Art Museum, 2001), 509.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"]},"bibliography":{"label":"Bibliography","value":""},"collections":{"label":"Collections","value":["eMuseum - Collection Highlights","Paintings"]},"geography":{"label":"Geography","value":""},"id":{"label":"Id","value":"154552"},"geographyState":{"value":"Virginia"},"markings":{"label":"Markings","value":""},"signed":{"label":"Signed","value":"Inscribed on marble plinth: Martha M. Graham/Nov. the 10th [?] 1830. On yellow urn at bottom: AcM"},"geographyCountry":{"value":"United States"},"onview":{"label":"On View","value":"0"},"people":{"label":"Artist / Maker","value":{"displayOrder":"1","personRole":"Artist","personID":"774","content":"Martha M. Graham"}},"classifications":{"label":"Classification(s)","value":"Paintings"},"textEntries":{"label":"Text Entries","value":["portrait","Kopp: \"In this piece, dated 1830,\" Charles Stephen Morgan is seen with the same woman who appears in a later piece. Her initials can be seen on the yellow vase. We presume they were engaged at the time of this portrait, as they were married in 1833. Charles Morgan was a well known politician and orator and took part in the General Convention of the Commonwealth of Virginia in 1829-1830. Perhaps this scene represents a moment from that periodin history. The Abby Aldrich Rockefeller Folk Art Collection includes a companion piece, \"Morgan Addressing His Friends,\" done circa 1838. The GRrrewe Creek Mound which is pictured in the center of the protrait was explored and publicized in 1838. Charls S. Morgan was active in the preservation of historica Virginia sites. The 1830 portrait is signed \"Martha M. Graham,\" and we believe she was the artist of both portraits.\"","Theorem","This is one of two similar paintings on velvet that depict Virginian Charles Stephen Morgan (1799-1859) standing at a podium with a pitcher and a glass, probably in the act of addressing a crowd. Morgan achieved fame at a young age as a talented politician and gifted orator. He was born near Morgantown, Virginia (then West Virginia), and represented Monongalia County in the Virginia House of Delegates in 1820, before he was twenty-one. He served as state senator from 1824 until 1832 and distinguished himself at the Virginia Convention of 1829\u20131830. In 1832, however, Morgan abandoned politics to pursue a cause in which he deeply believed: prison reform. He became superintendent of the Virginia State Penitentiary and devoted himself to improving conditions for prisoners over the next twenty-seven years. He was also an early preservationist and was instrumental in maintaining historic sites such as Jamestown Island, the location of the first permanent English settlement.This unusual work is a combination of freehand painting and theorem painting with stencils. The unconventional composition shows Morgan standing beside a woman, probably Alcinda Gibson Moss, whom he married in 1833. They wave to an unseen audience, and Morgan holds a book over the side of the podium that bears the date 1830, the year that ended his delegation to the Virginia Convention. The tall, steepled building on the right has not been identified but resembles a church more than the state penitentiary where Morgan devoted so many years. The two urns with flowers at the bottom flank a branching tree and, combined with other images of abundance and fertility, may represent the union of Morgan and Moss, which resulted in the births of seven children.Stacy C. Hollander, \"Charles Stephen Morgan and Alcinda Gibson Morgan,\" in American Radiance: The Ralph Esmerian Gift to the American Folk Art Museum (New York: Harry N. Abrams in association with American Folk Art Museum, 2001), 509.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"]},"beginDate":{"label":"Begin Date","value":"1830"},"displayDate":{"label":"Date","value":"1830"},"exhibitions":{"label":"Exhibitions","value":[{"exhibitionDisplayDate":"Saturday, July 2, 2016 - Monday, September 19, 2016","exhibitionEndISODate":"2016-09-19","exhibitionID":"159","exhibitionISOBeginDate":"2016-07-02","exhibitionBeginDate":"2016","exhibitionTitle":"AMERICAN MADE","exhibitionEndDate":"2016"},{"exhibitionDisplayDate":"Tuesday, December 11, 2001 - Sunday, June 2, 2002","exhibitionEndISODate":"2002-06-02","exhibitionID":"207","exhibitionISOBeginDate":"2001-12-11","exhibitionBeginDate":"2001","exhibitionTitle":"American Radiance","exhibitionEndDate":"2002"},{"exhibitionDisplayDate":"Tuesday, April 6, 2010 - Sunday, September 19, 2010","exhibitionEndISODate":"2010-09-19","exhibitionID":"184","exhibitionISOBeginDate":"2010-04-06","exhibitionBeginDate":"2010","exhibitionTitle":"Women Only: Folk Art by Female Hands","exhibitionEndDate":"2010"}]},"dimensions":{"label":"Dimensions","value":"16 x 22 1/2 \"Frame: 24 3/4 x 31 x 1 3/4 \""}}]}