Usina Hidrelétrica Henry Borden, 1948, Cubatão, São Paulo, Brasil

Usina Hidrelétrica Henry Borden, 1948, Cubatão, São Paulo, Brasil
Cubatão - SP
Fotografia

Padre Anchieta (Padre Anchieta) - Cândido Portinari

Padre Anchieta (Padre Anchieta) - Cândido Portinari
Localização atual não obtida
OST - 54x46 - 1954

Viaduto do Chá, São Paulo, Brasil

Viaduto do Chá, São Paulo, Brasil
São Paulo - SP
Fotografia - Cartão Postal

Retrato do Brigadeiro (The Brigand's Portrait) - William Henry Powell

Retrato do Brigadeiro (The Brigand's Portrait) - William Henry Powell
Coleção privada
OST - 32x39 - 1846

Embarque dos Peregrinos, Delft Haven, Holanda (Embarkation of the Pilgrims) - Robert Walter Weir

Embarque dos Peregrinos, Delft Haven, Holanda (Embarkation of the Pilgrims) - Robert Walter Weir Delft Haven - Holanda
Rotunda do Capitólio, Washington D. C., Estados Unidos
OST - 365x548 - 1844




This painting depicts the Pilgrims on the deck of the ship Speedwell on July 22, 1620, before they departed from Delfs Haven, Holland, for North America, where they sought religious freedom. They first sailed to Southampton, England, to join the Mayflower, which was also making the voyage. After leaks forced the Speedwell to make additional stops in Dartmouth and then Plymouth, its passengers boarded the Mayflower. Five months later the Pilgrims settled the Plymouth Colony in present-day Massachusetts.
The group appears solemn and contemplative of what they are about to undertake as they pray for divine protection through their voyage; the words "God with us" appear on the sail in the upper left corner. The figures at the center of the composition are William Brewster, holding the Bible; Governor Carver, kneeling with head bowed and hat in hand; and pastor John Robinson, with extended arms, looking Heavenward. Gathered around them are the men, women, and children going on the voyage. Some are dressed in traditional puritan attire while others wear more fanciful and bright garments. The armor, helmet, and musket in the foreground represent the tools that the Pilgrims will use for protection in the new and unfamiliar land. In the background on the right are the city and people the Pilgrims leave, and on the left a rainbow represents the hope and promise of what lies ahead.
Embarkation of the Pilgrims is Robert Weir's most famous work. Initially, Weir had intended to paint a scene depicting the Mayflower Compact. However, the same subject was proposed by artist and inventor Samuel F. B. Morse, who also sought a commission for one the Rotunda paintings. While Morse did not receive a commission, Weir out of respect chose instead to the paint the embarkation from Delfts Haven. Weir's depiction of the event was drawn from Nathaniel Morton's New-England's Memorial of 1669 and, perhaps, Cotton Mather's Magnalia Christi Americana. The armor and costumes Weir collected in Europe were sources for the garments worn by those depicted. The painting was completed in July 1843 and was first seen by the Corps of Cadets at the United States Military Academy at West Point, where Weir was an instructor. The painting then traveled to Boston, New York, and Philadelphia and was hung in the U.S. Capitol in December that same year.
The painting has undergone various cleaning, repair, and restoration treatments. In November 1860, the painting was damaged by a falling beam during the construction of the new dome, scraping the painting and causing a hole near the foot of Miles Standish. The War Department detailed Weir from West Point to make the needed repairs. The painting has since undergone periodic cleaning and restoration, including relining and varnishing, with the most recent cleaning in 2008.
In 1857, Weir painted a smaller version of Embarkation of the Pilgrims, which is now in the Brooklyn Museum of Art. In the later work, Weir made changes in light and details and achieved greater focus on the three central figures by giving them fuller faces and broader shoulders. Engravings of this later painting have appeared on the reverses of several U. S. currency notes, including a $50 bank note and the $10,000 Federal Reserve note, the largest denomination ever issued to the general public.
Robert Walter Weir was born in New York City on June 18, 1803. He was a largely self-taught artist who had some formal instruction but developed his skills through first copying pictures and later traveling to Europe to study the art of Florence and Rome. He spent much of his career as an instructor at the United States Military Academy at West Point, where he was appointed Instructor of Drawing in 1834 and promoted to Professor in 1846; after forty-two years at the Academy, he retired in 1876 and set up a studio in New York City. He painted and exhibited portraits, landscapes, and genre scenes throughout his life—for example, Portrait of Walter Weir (1853), View of the Hudson River (1864), and The Greenwich Boat Club (1833). Weir married Louisa Ferguson in 1829 and later, after her death, married Susan Martha Bayard. He was the father of sixteen children, including artists John Ferguson Weir and Julian Alden Weir. Robert Weir died on May 1, 1889, and is buried at West Point.

Batismo de Pocahontas, Jamestown, Estados Unidos (Baptism of Pocahontas) - John Gadsby Chapman

Batismo de Pocahontas, Jamestown, Estados Unidos (Baptism of Pocahontas) - John Gadsby Chapman
Jamestown - Estados Unidos
Rotunda do Capitólio, Washington D. C., Estados Unidos
OST - 365x548 - 1840


This painting depicts the ceremony in which Pocahontas, daughter of the influential Algonkian chief Powhatan, was baptized and given the name Rebecca in an Anglican church. It took place in 1613 or 1614 in the colony at Jamestown, Virginia, the first permanent English settlement on the North American continent. Pocahontas is thought to be the earliest native convert to Christianity in the English colonies; this ceremony and her subsequent marriage to John Rolfe helped to establish peaceful relations between the colonists and the Tidewater tribes.
The figures of Pocahontas and the officiating minister are given prominence by their placement, their bright white clothing, and the light that shines upon them. Pocahontas kneels on the top level of a stepped dais, her head bowed and her hands clasped before her. Reverend Alexander Whiteaker raises his eyes and his left hand, while his right hand rests on the baptismal font. John Rolfe, Pocahontas’s future husband, stands behind her.
Other colonists and members of Pocahontas’s family look on, displaying a range of emotions. At the left of the painting, Sir Thomas Dale, deputy governor of the colony, has risen from his chair near the font to observe the event. Pocahontas’s regally dressed brother, Nantequaus, turns away from the ceremony as her uncle Opachisco leans in from the right. The seated, brooding figure of another uncle, Opechankanough, turns completely away from the ceremony while Pocahontas’s sister, with an infant, watches from the floor.
Chapman received the commission for the Rotunda painting in 1837 and selected Pocahontas as its subject. He may have chosen to paint her baptism because he had already (in 1836) completed a scene that showed her more widely depicted rescue of John Smith. Seeking to depict the scene of this ceremony accurately, Chapman traveled in England and America to examine objects and buildings from the early 17th century. Because the Jamestown church had since been torn down, he based his setting on a church that he believed to be of similar age and incorporated features appropriate to the colony, such as the pine columns; many details were based on a written description by a Jamestown resident. Chapman created this painting in Washington, D.C., in the loft of a barn on G Street, NW. His life during the time in which he worked on it was marked by great sadness and misfortune: his son died in February 1838, and two weeks later his daughter was born prematurely and survived only ten hours. He was also under mounting pressure from debts and worked quickly on the canvas to collect his payment; after completing it he noted in his day book that the money he received from the government for the painting was “barely equivalent to its cost” to him. The painting was delivered to the U.S. Capitol and installed in November 1840.
This painting has undergone various cleaning, repair and restoration treatments. In 1925, it was relined because of the damage it suffered from currents of heated air rising from the floor registers. Finding a manufacturer in the United States to provide such a large canvas proved difficult, and the canvas was eventually ordered from a company in Brussels. In 1980 the painting was attached to an aluminum panel to help it resist the effects of changes in temperature and humidity. All of the Rotunda paintings were most recently surface cleaned in 2008.
An engraving of Chapman’s painting appeared on the reverse of the First Charter $20 National Bank Notes issued in 1863 and 1875. John Gadsby Chapman was born on August 11, 1808, in Alexandria, Virginia. He received encouragement and instruction from history painter George Cooke and portraitist Charles Bird King, and he studied further in Philadelphia. In 1828 he traveled to Italy to study the Old Masters, and in 1831 he returned to America to create landscapes and portraits, which he exhibited in Washington, D.C., Richmond and Philadelphia. He moved in 1834 to New York City, where he became a member of the National Academy of Design and illustrated books and magazines. He also began a series of history paintings depicting events in colonial-era America, and their success led to the commission for Baptism of Pocahontas, his best-known work. In 1850 he and his family settled in Rome, where he prospered by selling his works to American tourists. In the 1860s, however, the Civil War curtailed tourist travel; in the 1870s his wife died and he relied on fellow Americans for charity. His health failing, he returned to the United States in 1884 and lived with his son in Brooklyn. He died on November 28, 1889.

Descoberta do Rio Mississippi por De Soto, Estados Unidos (Discovery of the Mississippi by De Soto) - William Henry Powell

Descoberta do Rio Mississippi por De Soto, Estados Unidos (Discovery of the Mississippi by De Soto) - William Henry Powell
Rio Mississippi - Estados Unidos
Rotunda do Capitólio, Washington D. C., Estados Unidos
OST - 365x548 - 1853


William Henry Powell’s dramatic and brilliantly colored canvas was the last of the eight large historical paintings in the Rotunda commissioned by the Congress. It shows Spanish conquistador and explorer Hernando De Soto (1500–1542), riding a white horse and dressed in Renaissance finery, arriving at the Mississippi River at a point below Natchez on May 8, 1541. De Soto was the first European documented to have seen the river.
As De Soto and his troops approach, the Native Americans watch warily but quietly before their tepees, and a chief holds out the pipe of peace. The central area of the painting is filled with light and color, set off in dramatic relief by the foreground figures in shadow, and the dark forest at the left contrasts strongly with the bright sky on the right. In the foreground, weapons, armor, artillerymen moving a cannon, and a soldier wrapping a wounded leg suggest the attack by Indians that took place the day before. To the right, a monk prays as men set a newly constructed crucifix in the ground. Above this group and fading to the horizon is the Mississippi River, dotted with native canoes, small islands, and a tree being borne downstream; the lightly forested opposite bank is visible along the skyline. Powell based his scene on published accounts and histories, including Theodore Irving’s 1835 The Conquest of Florida by Hernando de Soto. A year later, after De Soto died of a fever, his body was buried in the river, as shown in Constantino Brumidi’s frescoed Frieze of American History above the painting.
American painter William Henry Powell (1823–1879) was the last artist commissioned by the Congress to create a painting for the Capitol Rotunda. He replaced Henry Inman, his former teacher, who was commissioned to fill one of the frames in the Rotunda, but who died in 1846 before completing his painting showing Daniel Boone emigrating to Kentucky. Powell, who chose a different subject, worked on the painting in Paris from 1848 to 1853, basing the Spaniards’ costumes and equipment on specimens in the Museum of Artillery. He had a color lithograph made of the painting and exhibited the canvas in Harrisburg, Pennsylvania; Baltimore, Maryland; and New York City before bringing it to Washington, D.C.
The painting has undergone various cleaning, revarnishing, repair and restoration treatments since its installation. In 1982 the painting was lined to an aluminum panel to help it resist the effects of changes in temperature and humidity. All of the Rotunda paintings were most recently cleaned in 2008.
Engravings of Discovery of the Mississippi by De Soto have appeared on the reverse of two United States bank notes: a $10 note in the 1860s and a $500 note in the 1918 series. William Henry Powell was born in New York City on February 14, 1823, and raised in Cincinnati, Ohio, from infancy. His youthful interest in art was encouraged by a local philanthropist, and he received instruction. At the age of seventeen he returned to New York, where he became a pupil of Henry Inman, and he later studied art in Italy for three years. Initially recognized for his portraits, he moved into the field of history painting, which led to his work for the Rotunda. The success of Discovery of the Mississippi by De Soto led the Ohio legislature to commission him to paint The Battle of Lake Erie (1873), a scene of Commodore Perry’s famous victory. This work, still displayed in the Ohio Statehouse, prompted the Congress to commission a larger version, which hangs in the east Senate Grand Staircase in the Capitol. Powell’s other history paintings include The Siege of Vera Cruz, The Landing of the Pilgrims and Washington at Valley Forge. His portraits include depictions of Washington Irving, Peter Stuyvesant, and General George B. McClellan. He died in New York on October 6, 1879.

Batalha no Lago Erie, Estados Unidos (Battle of Lake Erie) - William Henry Powell

Batalha no Lago Erie, Estados Unidos (Battle of Lake Erie) - William Henry Powell
Lago Erie - Estados Unidos
Coleção do Senado, Capitólio, Washington D. C., Estados Unidos
OST - 510x811 - 1873


The Battle of Lake Erie, sometimes called the Battle of Put-in-Bay, was fought on 10 September 1813, on Lake Erie off the coast of Ohio during the War of 1812. Nine vessels of the United States Navy defeated and captured six vessels of the British Royal Navy. This ensured American control of the lake for the rest of the war, which in turn allowed the Americans to recover Detroit and win the Battle of the Thames to break the Indian confederation of Tecumseh. It was one of the biggest naval battles of the War of 1812.
When the war broke out, the British immediately seized control of Lake Erie. They already had a small force of warships there: the sloop-of-war Queen Charlotte and the brig General Hunter. The schooner Lady Prevost was under construction and was put into service a few weeks after the outbreak of war. These vessels were controlled by the Provincial Marine, which was a military transport service and not a naval service. Nevertheless, the Americans lacked any counter to the British armed vessels. The only American warship on Lake Erie, the brig Adams, was not ready for service at the start of the war, and when the American army of Brigadier General William Hull abandoned its invasion of Canada, Adams was pinned down in Detroit by the British batteries at Sandwich on the Canadian side of the Detroit River. The British Major-General Isaac Brock used his control of the lake to defeat Hull's army at the Siege of Detroit, by cutting the American supply lines and rapidly transferring himself and some reinforcements to Amherstburg from where they launched a successful landing on the American side of the Detroit River.
The British took Adams when Detroit was surrendered, renaming her Detroit. Together with the brig Caledonia, which had been commandeered from the Canadian North West Company, she was boarded and captured near Fort Erie on 9 October, by American sailors and soldiers led by Lieutenant Jesse Elliot. Detroit ran aground on an island in the middle of the Niagara River and was set on fire to prevent her being recaptured. Caledonia was taken to the navy yard at Black Rock and commissioned into the United States Navy. Also present at Black Rock were the schooners Somers and Ohio and the sloop-rigged Trippe, which had all been purchased by the United States Navy and were being converted into gunboats. While the British held Fort Erie and the nearby batteries which dominated the Niagara River, all these vessels were pinned down and unable to leave Black Rock.
Late in 1812, Paul Hamilton, the United States Secretary of the Navy had received long-time American lake mariner Daniel Dobbins, who had escaped capture at Detroit and brought information on the British forces on Lake Erie. Dobbins recommended the bay of Presque Isle in Erie, Pennsylvania as a naval base on the lake. ("Presqu'isle" is French for "peninsula", literally "almost an island"). Dobbins was dispatched to build four gunboats there, although Lieutenant Elliot objected to the lack of facilities. Another problem was that a sand bar extended across the entrance to the harbor at Presque Isle, which would prove to make it very difficult to get newly-constructed U.S. ships out to open water. In September, Dobbins began directing the cutting of trees. By November, Ebenezer Crosby, a master shipwright, was hired by Dobbins to start work on the four wooden ships. Commodore Isaac Chauncey had been appointed to the command of the United States naval forces on the Great Lakes in September 1812. He made one brief visit to Erie on 1 January 1813 where he approved Dobbins's actions and recommended collecting materials for a larger vessel, but then returned to Lake Ontario where he afterwards concentrated his energies.
In January 1813, William Jones (who had replaced Hamilton as the United States Secretary of the Navy) ordered the construction of two brig-rigged corvettes at Presque Isle, and transferred shipwright Noah Brown there from Sackets Harbor on Lake Ontario to take charge of construction. Other than their rig and crude construction (such as using wooden pegs instead of nails because of shortages of the latter), the two brigs were close copies of the contemporary USS Hornet. The heaviest armament for the ships came from foundries on Chesapeake Bay, and were moved to Presque Isle only with great difficulty. (The Americans were fortunate in that some of their largest cannon had been dispatched shortly before raiding parties under Rear-Admiral George Cockburn destroyed a foundry at Frenchtown on the eastern seaboard.) However, the Americans could get other materials and fittings from Pittsburgh, which was expanding as a manufacturing center, and smaller guns were borrowed from the Army.
Master Commandant Oliver Hazard Perry had earlier been appointed to command on Lake Erie, through lobbying by Jeremiah B. Howell, the Senior Senator from Rhode Island, supplanting Lieutenant Elliot. He arrived at Presque Isle to take command at the end of March. Having arranged for the defense of Presque Isle, he proceeded to Lake Ontario to obtain reinforcements of seamen from Commodore Isaac Chauncey. After commanding the American schooners and gunboats at the Battle of Fort George, he then went to Black Rock where the American vessels had been released when the British abandoned Fort Erie at the end of May. Perry had them towed by draft oxen up the Niagara, an operation which took six days, and sailed with them along the shore to Presque Isle.
Meanwhile, Commander Robert Heriot Barclay was appointed to command the British squadron on Lake Erie. Another British officer had already endangered his career by refusing the appointment as success appeared unlikely. Barclay missed a rendezvous with Queen Charlotte at Point Abino and was forced to make the tedious journey to Amherstburg overland, arriving on 10 June. He brought with him only a handful of officers and seamen. When he took command of his squadron, the crews of his vessels numbered only seven British seamen, 108 officers and men of the Provincial Marine (whose quality Barclay disparaged), 54 men of the Royal Newfoundland Fencibles and 106 soldiers, effectively landsmen, from the 41st Foot. Nevertheless, he immediately set out in Queen Charlotte and Lady Prevost. He first reconnoitred Perry's base at Presque Isle and determined that it was defended by 2,000 Pennsylvania militia, with batteries and redoubts. He then cruised the eastern end of Lake Erie, hoping to intercept the American vessels from Black Rock. The weather was hazy, and he missed them.
During July and August, Barclay received two small vessels, the schooner Chippeway and the sloop Little Belt, which had been reconstructed at Chatham on the Thames River and attempted to complete the ship-rigged corvette HMS Detroit at Amherstburg. Because the Americans controlled Lake Ontario and occupied the Niagara Peninsula in early 1813, supplies for Barclay had to be carried overland from York. The American victory earlier in the year at the Battle of York resulted in the guns (24-pounder carronades) intended for Detroit falling into American hands. Detroit had to be completed with a miscellany of guns from the fortifications of Amherstburg. Barclay claimed at his court martial that these guns lacked flintlock firing mechanisms and matches, and that they could be fired only by snapping flintlock pistols over powder piled in the vent holes.
Barclay repeatedly requested men and supplies from Commodore James Lucas Yeo, commanding on Lake Ontario, but received very little. The commander of the British troops on the Detroit frontier, Major-General Henry Procter, was similarly starved of soldiers and munitions by his superiors. He declined to make an attack on Presque Isle unless he was reinforced, and instead he incurred heavy losses in an unsuccessful attack on Fort Stephenson, which he mounted at the urgings of some of his Indian warriors.
By mid-July, the American squadron was almost complete, although not yet fully manned (Perry claimed to have only 120 men fit for duty). The British squadron maintained a blockade of Presque Isle for ten days from 20 July to 29 July. The harbour had a sandbar across its mouth, with only 5 feet (1.5 m) of water over it, which prevented Barclay sailing in to attack the American ships (although Barclay briefly skirmished with the defending batteries on 21 July), but also prevented the Americans leaving in fighting order. Barclay had to lift the blockade on 29 July because of shortage of supplies and bad weather. It has also been suggested that Barclay left to attend a banquet in his honour, or that he wished the Americans to cross the bar and hoped to find them in disarray when he returned. Perry immediately began to move his vessels across the sandbar. This was an exhausting task. The guns had to be removed from all the boats, and the largest of them had to be raised between "camels" (barges or lighters which were then emptied of ballast). When Barclay returned four days later, he found that Perry had nearly completed the task. Perry's two largest brigs were not ready for action, but the gunboats and smaller brigs formed a line so confidently that Barclay withdrew to await the completion of Detroit.
Chauncey had dispatched 130 extra sailors under Lieutenant Jesse Elliot to Presque Isle. Although Perry described some of them as "wretched", at least 50 of them were experienced sailors drafted from USS Constitution, then undergoing a refit in Boston. Perry also had a few volunteers from the Pennsylvania militia.
His vessels first proceeded to Sandusky, where they received further contingents of volunteers from Major General William Henry Harrison's Army of the Northwest. After twice appearing off Amherstburg, Perry established an anchorage at Put-in-Bay, Ohio. For the next five weeks, Barclay was effectively blockaded and unable to move supplies to Amherstburg. His sailors, Procter's troops, and the very large numbers of Indian warriors and their families there quickly ran out of supplies. After receiving a last-minute reinforcement of two naval officers, three warrant officers and 36 sailors transferred from a transport temporarily laid up in Quebec under Lieutenant George Bignall, Barclay had no choice but to put out again and seek battle with Perry.
In the days preceding the battle, Perry told his friend, Purser Samuel Hambleton, that he wanted a signal flag, or battle flag, to signal to his fleet when to engage the enemy. Hambleton suggested using the dying words of Perry's friend Captain James Lawrence of the frigate USS Chesapeake, "Don't Give up the Ship". Hambleton had the flag sewn by women of Erie, and presented it to Perry the day before the battle. The flag would become an icon in American naval history.
On the morning of 10 September, the Americans saw Barclay's vessels heading for them, and got under way from their anchorage at Put-in-Bay. The wind was light. Barclay initially held the weather gauge, but the wind shifted and allowed Perry to close and attack. Both squadrons were in line of battle, with their heaviest vessels near the centre of the line.
The first shot was fired, from Detroit, at 11:45. Perry hoped to get his two largest brigs, his flagship Lawrence and Niagara, into carronade range quickly, but in the light wind his vessels were making very little speed and Lawrence was battered by the assortment of long guns mounted in Detroit for at least 20 minutes before being able to reply effectively. When Lawrence was finally within carronade range at 12:45, her fire was not as effective as Perry hoped, her gunners apparently having overloaded the carronades with shot.
Astern of Lawrence, Niagara, under Elliot, was slow to come into action and remained far out of effective carronade range. It is possible that Elliott was under orders to engage his opposite number, Queen Charlotte, and that Niagara was obstructed by Caledonia, but Elliot's actions would become a matter of dispute between him and Perry for many years. Aboard Queen Charlotte, the British ship opposed to Niagara, the commander (Robert Finnis) and First Lieutenant were both killed. The next most senior officer, Lieutenant Irvine of the Provincial Marine, found that both Niagara and the American gunboats were far out of range, and passed the brig General Hunter to engage Lawrence at close range.
Although the American gunboats at the rear of the American line of battle steadily pounded the British ships in the centre of the action with raking shots from their long guns from a distance, Lawrence was reduced by the two British ships to a wreck. Four-fifths of Lawrence's crew were killed or wounded. Both of the fleet's surgeons were sick with "lake fever", (malaria), so the wounded were taken care of by the assistant, Usher Parsons. When the last gun on Lawrence became unusable, Perry decided to transfer his flag. He was rowed a half mile (1 km) through heavy gunfire to Niagara while Lawrence was surrendered. It is said his personal servant, African American sailor Cyrus Tiffany, accompanied and protected Perry during this journey.
(It was later alleged that Perry left Lawrence after the surrender, but he had actually taken down only his personal pennant, in blue bearing the motto, "Don't give up the ship".)
When Lawrence surrendered, firing died away briefly. Detroit collided with Queen Charlotte, both ships being almost unmanageable with damaged rigging and almost every officer killed or severely wounded. Barclay was severely wounded and his first lieutenant was killed, leaving Lieutenant Inglis in command. Most of the smaller British vessels were also disabled and drifting to leeward. The British nevertheless expected Niagara to lead the American schooners away in retreat. Instead, once aboard Niagara, Perry dispatched Elliot to bring the schooners into closer action, while he steered Niagara at Barclay's damaged ships, helped by the strengthening wind.
Niagara broke through the British line ahead of Detroit and Queen Charlotte and luffed up to fire raking broadsides from ahead of them, while Caledonia and the American gunboats fired from astern. Although the crews of Detroit and Queen Charlotte managed to untangle the two ships they could no longer offer any effective resistance. Both ships surrendered at about 3:00 pm. The smaller British vessels tried to flee but were overtaken and also surrendered.
Although Perry won the battle on Niagara, he received the British surrender on the deck of the Lawrence.
The British lost 41 killed and 94 wounded. The surviving crews, including the wounded, numbered 306. Captain Barclay, who had previously lost his left arm in 1809, lost a leg and part of his thigh in the action while his remaining arm was rendered "permanently motionless". The Americans lost 27 killed and 96 wounded, of whom 2 later died. The heaviest American casualties were suffered aboard Lawrence, which had 2 officers and 20 men killed, and 6 officers and 55 men wounded.
Of the vessels involved, the three most battered (the American brig Lawrence and the British ships Detroit and Queen Charlotte) were converted into hospital ships. A gale swept the lake on 13 September and dismasted Detroit and Queen Charlotte, further shattering the already battered ships. Once the wounded had been ferried to Erie, Lawrence was restored to service for 1814, but the two British ships were effectively reduced to hulks.
Perry's vessels and prizes were anchored and hasty repairs were underway near West Sister Island when Perry composed his now famous message to Harrison. Scrawled in pencil on the back of an old envelope, Perry wrote:
Dear General:
We have met the enemy and they are ours. Two ships, two brigs, one schooner and one sloop.
Yours with great respect and esteem,
O.H. Perry
Perry next sent the following message to the Secretary of the Navy, William Jones:
Brig Niagara, off the Western Sister,
Head of Lake Erie, September 10, 1813, 4 P.M.
Sir:- It has pleased the Almighty to give to the arms of the United States a signal victory over their enemies on this lake. The British squadron, consisting of two ships, two brigs, one schooner and one sloop, have this moment surrendered to the force under my command after a sharp conflict.
I have the honor to be, Sir, very respectfully, your obedient servant,
O. H. Perry
Once his usable vessels and prizes were patched up, Perry ferried 2,500 American soldiers to Amherstburg, which was captured without opposition on 27 September. Meanwhile, 1,000 mounted troops led by Richard Mentor Johnson moved by land to Detroit, which also was recaptured without fighting on or about the same day. The British army under Procter had made preparations to abandon its positions even before Procter knew the result of the battle. In spite of exhortations from Tecumseh, who led the confederation of Indian tribes allied to Britain, Procter had already abandoned Amherstburg and Detroit and began to retreat up the Thames River on 27 September. Lacking supplies, Tecumseh's Indians had no option but to accompany him. Harrison caught up with Procter's retreating force and defeated them on 5 October at the Battle of the Thames, where Tecumseh was killed, as was his second-in command and most experienced warrior, Wyandot Chief Roundhead.
The victory on Lake Erie had disproportionate strategic import. The Americans controlled Lake Erie for the remainder of the war. This accounted for much of the Americans' successes on the Niagara peninsula in 1814 and also removed the threat of a British attack on Ohio, Pennsylvania, or Western New York.
However, an expedition in 1814 to recover Mackinac Island on Lake Huron failed, and the Americans lost eight of their smaller vessels and prizes. (Four were destroyed when the British captured Black Rock, where they were laid up, following the Battle of Buffalo at the end of 1813, and four were boarded and captured in separate incidents on Lake Erie and Lake Huron.)
After the war, there was a bitter quarrel between Perry and Elliot over their respective parts in the action, mostly fought at second hand in the press. On the British side, Barclay was exonerated of any blame by a court-martial but was too badly injured to see service again for several years.
In 1820 Lawrence and Niagara were intentionally sunk near Misery Bay in Lake Erie, as they had "went to rot." In 1875, Lawrence was raised and moved to Philadelphia, where she was displayed at the 1876 Centennial Exposition. Later that year, the ship burned when the pavilion that housed it caught fire. Although Niagara was raised and restored in 1913, she subsequently fell into disrepair. She was eventually disassembled, and portions of her were used in a reconstructed Niagara, which is now on view in Erie, Pennsylvania.
The 352-foot (107 m) high Perry Monument within Perry's Victory and International Peace Memorial now stands at Put-in-Bay, commemorating the men who fought in the battle.
Another 101-foot (31 m) high Perry Monument is located at the eastern end of Presque Isle in Erie Pennsylvania. It stands next to Presque Isle Bay, where Niagara and Lawrence were built, stationed along with the rest of the American Squadron, and then scuttled after the war.
Most historians attribute the American victory to what Theodore Roosevelt described as "superior heavy metal," citing the greater numbers of American ships and heavy cannon. Perry's leadership, particularly in the latter stages of the action, is also mentioned as a factor. The British historian C.S. Forester commented that "it was as fortunate for the Americans that the Lawrence still possessed a boat that would float, as it was that Perry was not hit."
On the British side, William Bell served as constructor and built Detroit, which was the best-built ship on the lake. However, Detroit was built slowly, in part because of Bell's perfectionism, and indeed, it was the only purpose-built British warship constructed on Lake Erie during the war. The guns intended for Detroit were seized by the Americans at the time of their raid on Fort York the year before. That building imbalance, given the fact that six American ships were built in the same time frame, was another important cause of the American victory (although it might be argued that even if Barclay had possessed more hulls, he would have been unable to obtain armament and crews for them).
The court-martial of Captain Barclay and his surviving officers determined that the captain and his officers and men had "conducted themselves in the most gallant manner" and found that the defeat was the result of American numerical superiority, an insufficient number of able seamen, and the early fall of superior officers in the action.
William Henry Powell, an Ohio artist who had studied with Henry Inman in New York City, received a coveted commission in 1847: the last of the historical paintings for the U.S. Capitol Rotunda. His subject, Discovery of the Mississippi by De Soto A.D. 1541, was completed in 1853. As Henry Tuckerman wrote in his 1867 Book of the Artists, it was “a commission bestowed upon him rather in deference to his Western origin than because of priority of claim in point of rank or age.” That is, the new political clout of the Northwest Territory had made itself felt. This national success led his home state to commission Powell in 1857 to paint Perry’s Victory on Lake Erie for the rotunda of the Ohio Statehouse in Columbus. The work was completed in his New York City studio. The artist let it be known that he had used as models men from the Brooklyn Navy Yard and had sought authenticity in all the nautical details of the picture, an effort for which he was praised. The picture was installed in Columbus in 1865, whereupon the Joint Committee on the Library commissioned Powell, on March 2, 1865, for a painting “illustrative of some naval victory,” to be placed at the head of the east stairway in the Senate wing of the Capitol. It seems certain that he was expected to repeat his Ohio Statehouse subject on a larger scale. He did so, painting it in a temporary studio inside the U.S. Capitol and completing it in 1873. For this version, it appears that Powell used as models workers then employed at the Capitol.
Powell chose as his subject the moment when Commodore Oliver Hazard Perry made his way from his severely damaged flagship, the Lawrence, in a rowboat through enemy fire to the Niagara. Powell enlarged the crew of the boat, showing six oarsmen, a helmsman, Perry, and Perry’s 13-year-old brother, Alexander, who served as Perry’s midshipman. Sources do not agree on whether Alexander in fact accompanied his brother in the rowboat, but it must have seemed an irresistible addition. In the painting, Alexander grasps his brother’s coat as if to pull him to sit, as the helmsman also urges with a gesture. Perry does not carry his battle flag; the artist chose instead to fly the Stars and Stripes from the boat’s bow. This is stirring, if inaccurate, as the “colors” were not taken from the Lawrence. One of the oarsmen is an African American. Although Tuckerman identifies him as “Perry’s black servant, Hannibal,” who responds to a near-hit in “evident consternation,” his inclusion is more likely dictated by the date of the painting—immediately post–Civil War and emancipation—than by the reality of 1813.
In addition to the heroic figures in the rowboat, Powell shows three figures on the abandoned Lawrence, along with a dead sailor in the flotsam between brig and boat and a doomed figure in the water at the right side. To judge from the flags, three British ships are clustered from the left to the center in the background, and five American ships are grouped from the center to the right. Many sailors are seen in those ships. Powell’s most expressive work is found in the indistinct background, seen through gunsmoke and haze; in the water; and in the corpse atop the tangled flotsam. Powell sacrifices spatial unity, however, by ignoring the middle ground. Thus, the diagonal that is meant to lead the eye from the Lawrence through the rowboat to the distant Niagara fails to do so, despite Perry’s rhetorical pointing gesture.
Although the commodore’s heedless action of standing in the boat had exposed him as he headed for the Niagara, “Perry’s luck” became legendary. The heroic stance, as presented by Powell, may seem overdone to the modern viewer, but it was not out of step with dramatic conventions of the period. For example, Emanuel Leutze’s Washington Crossing the Delaware portrays George Washington similarly. The Leutze canvas was exhibited in New York in 1851 and again in 1853, and it was all but universally praised for showing the hero’s determined purpose. Likewise, in describing Perry’s action in the earlier version of Powell’s Perry’s Victory on Lake Erie in the Ohio Statehouse, Tuckerman revels, “[Perry]—the central figure, the soul of the picture—is standing with outstretched arm, and resolute and confident look, unconscious of his handsome little brother, who tugs at his dress, or of the deprecating gesture of the helmsman to make him sit down and avoid the terrible exposure, of which, in the excitement of the moment, he is unaware.”

Desembarque de Colombo, Guanahani, Atual São Salvador, Bahamas (Landing of Columbus) - John Vanderlyn

Desembarque de Colombo, Guanahani, Atual São Salvador, Bahamas (Landing of Columbus) - John Vanderlyn
Guanahani, Atual São Salvador, Bahamas
Rotunda do Capitólio, Washington D. C., Estados Unidos
OST - 365x548 - 1847


Christopher Columbus is depicted landing in the West Indies, on an island that the natives called Guanahani and he named San Salvador, on October 12, 1492. He raises the royal banner, claiming the land for his Spanish patrons, and stands bareheaded, with his hat at his feet, in honor of the sacredness of the event. The captains of the Niña and Pinta follow, carrying the banner of Ferdinand and Isabella. The crew displays a range of emotions, some searching for gold in the sand. Natives watch from behind a tree. John Vanderlyn (1775-1852) had studied with Gilbert Stuart and was the first American painter to be trained in Paris, where he worked on this canvas for ten years with the help of assistants.
This painting depicts Christopher Columbus and members of his crew on a beach in the West Indies, newly landed from his flagship Santa Maria on October 12, 1492. The island landing was the first landfall of their expedition to find a westward route from Europe to China, Japan and perhaps unknown lands. American neoclassicist painter John Vanderlyn (1775-1852) was commissioned by Congress in June 1836 to paint the Landing of Columbus for the Capitol Rotunda. It was installed in the Rotunda by early January 1847.
In this painting, Christopher Columbus and members of his crew are shown on a beach in the West Indies, the first landfall of their expedition to find a westward route from Europe to China, Japan and perhaps unknown lands. On October 12, 1492, they reached this island, which the natives called Guanahani and Columbus named San Salvador.
The setting of the painting is a narrow beach at the edge of a wooded bay or inlet. Columbus, newly landed from his flagship Santa Maria, looks upward as if in reverent gratitude for the safe conclusion of his long voyage. With his left hand he raises the royal banner of Aragon and Castile, claiming the land for his Spanish patrons, and with his right he points his sword at the earth. He stands bareheaded, with his feathered hat at his feet, in an expression of humility.
The other Europeans grouped near Columbus represent various classes of society. Behind Columbus and to his right, the captains of the ships Niña and Pinta carry the banner of King Ferdinand and Queen Isabella, and a friar holds up a metal cross. To his left, a sailor kneels, gazing upward, and a soldier looks warily into the woods, where native West Indians watch the visitors from behind a tree. Farther behind Columbus, a cabin boy kneels and a mutineer bows in a penitant attitude. Throughout the central group soldiers carry spears, and the inspector of armament shoulders a musket. At the left side of the painting, more crew members land a small boat as their comrades display a range of reactions, some seeming jubilant at reaching the shore and others eagerly seeking to pluck gold from the sand.
In the foreground of the scene, a fallen tree and spiky, broad-leafed plants suggest that a new and unknown world begins only a few paces from the explorers’ feet. At the right edge of the painting, the natives blend into the forest of tall deciduous trees. Palm trees can be seen near the water’s edge in the middle distance and along the top of the hill at the horizon. Out on the ocean lie the expedition’s three ships, silhouetted against a rising sun.
American neoclassicist painter John Vanderlyn (1775–1852) was commissioned by Congress in June 1836 to paint the Landing of Columbus for the Capitol Rotunda. He worked on this canvas at his studio in Paris with the help of assistants. Upon its completion in the late summer of 1846 he reportedly hoped to exhibit the painting in various principal cities, but by October 3 he had arrived with it in New York, and it was installed in the Rotunda by early January 1847.
The painting has undergone various cleaning, revarnishing, relining, repair, and restoration treatments over a dozen times since its installation. In 1982 the painting was attached to an aluminum panel to help it resist the effects of changes in temperature and humidity. All of the Rotunda paintings were most recently cleaned in 2008.
This painting may be Vanderlyn’s most widely distributed work. In 1869 it appeared on a 15-cent stamp (which, with a brown frame and blue center vignette, was the first bi-color stamp issued by the United States), and in 1893 it was used on a 2-cent stamp among the nation’s first commemorative stamps, the Columbian Exposition Issue. It also appeared on the reverse of a 5-dollar bank note issued in the 1870s. John Vanderlyn was born at Kingston, New York, on October 18, 1775. He studied under renowned portrait artist Gilbert Stuart and became a protegé of Aaron Burr, who in 1796 sent him for five years’ study in Paris—making him the first American painter to study there rather than in England. Returning to the United States in 1801, he painted portraits and landscapes. Two years later he traveled back to Europe and painted in England, Rome, and Paris, where his painting Marius amid the Ruins of Carthage was awarded a gold medal. In 1815 he resumed his work in America, exhibiting panoramas and painting portraits. His subjects were chiefly prominent Americans, including Robert R. Livingston, James Monroe, John C. Calhoun, George Clinton, Andrew Jackson, and Zachary Taylor; his 1834 full-length portrait of George Washington (after Gilbert Stuart) is displayed in the Hall of the House of Representatives in the U.S. Capitol. Landing of Columbus would be the last major work of his career, which fell into decline. He died in poverty in Kingston on September 23, 1852.

General George Washington Renuncia a Sua Comissão, Annapolis, Estados Unidos (General George Washington Resigning His Commission) - John Trumbull

General George Washington Renuncia a Sua Comissão, Annapolis, Estados Unidos (General George Washington Resigning His Commission) - John Trumbull
Annapolis - Estados Unidos
Rotunda do Capitólio, Washington D. C., Estados Unidos
OST - 370x550 - 1824



General George Washington Resigning His Commission is a large-scale oil painting by American artist John Trumbull of General George Washington resigning his commission as commander-in-chief of the Continental Army on December 23, 1783 to the Congress of the Confederation, then meeting in the Maryland State House at Annapolis, Maryland. The painting was commissioned in 1817, started in 1822, finished in 1824, and is now on view in the United States Capitol rotunda in Washington, D.C., along with three other large-scale paintings by Trumbull about the American Revolutionary War.
Trumbull considered George Washington's resignation as commander-in-chief to be "one of the highest moral lessons ever given to the world".
Congress commissioned Trumbull on January 27, 1817 to paint four Revolutionary War scenes to be displayed in the rotunda of the Capitol, including what would become the popular Declaration of Independence, and allocated $32,000 for the work. Trumbull then had a meeting with President James Madison to determine the final size and subjects. Trumbull initially thought that the paintings should be six feet high by nine feet long, but Madison stated that the vast size of the rotunda demanded full life-sized works. The military subjects selected were the Surrender of General Burgoyne and the Surrender of Lord Cornwallis. The civil subjects were the Declaration of Independence balanced by General George Washington Resigning His Commission. Trumbull recommended the painting of George Washington resigning, and Madison responded, "I believe you are right; it was a glorious action".
General George Washington is shown in full military uniform, illuminated in the middle of the painting as he addresses the Continental Congress. Standing behind him are his aides-de-camp Col. David Humphreys and Col. Benjamin Walker. Standing on the left are President of the Continental Congress Thomas Mifflin and Secretary of the Continental Congress Charles Thomson. Martha Washington and her three grandchildren are shown in the gallery on the right, although they were not actually in attendance. Future Presidents Thomas Jefferson, James Monroe, and James Madison are shown among the delegates. Trumbull told Madison that he had used artistic license to include him in the painting. Other congressional delegates include Elbridge Gerry, Hugh Williamson, Samuel Osgood, Eleazer McComb, George Partridge, Richard Dobbs Spaight, and Benjamin Hawkins. Also standing behind Washington are General William Smallwood, General Otho Holland Williams, Col. Samuel Smith, Col. John Eager Howard, and Daniel of St. Thomas Jenifer, spectators from Maryland, and Maryland delegate Charles Carroll with his two daughters.
Trumbull used his 1792 portrait General George Washington at Trenton as the model for Washington in this work. He used several of his miniature portraits from 1790 to 1793 for the other people in attendance, including Thomas Mifflin, William Smallwood, and Martha Washington.
Trumbull described the painting in the catalogue for his exhibited works at Yale University in 1835:
What a dazzling temptation was here to earthly ambition! Beloved by the military, venerated by the people, who was there to oppose the victorious chief, if he had chosen to retain that power, which he had so long held with universal approbation? The Caesars, the Cromwells, the Napoleons, yielded to the charm of earthly ambition, and betrayed their country; but Washington aspired to loftier, imperishable glory, – to that glory which virtue alone can give, and which no power, no effort, no time, can ever take away or diminish.
Historian Matthew Moten wrote about this painting in the conclusion to his 2014 book on the American history of command in war: Let us return once more to examine Trumbull’s General George Washington Resigning His Commission. Washington stands before a chair, one a little larger than all the rest and draped with a cloak—the throne will go unoccupied. Returning his commission, Washington becomes not Caesar but Cincinnatus, forsaking command, the military life, and a potential claim on executive, perhaps dictatorial, power. Like Cincinnatus, Washington has sheathed his sword and will return to the plow at his Mount Vernon estate.