Amon Carter Museum of American Art Adds Raphaelle Peale Masterpiece to Collection
FORT WORTH, Texas, July 25, 2014 /PRNewswire-USNewswire/ The Amon Carter Museum of American Art announces today the acquisition of the painting Peaches and Grapes in a Chinese Export Basket (1813) by Raphaelle Peale (17741825). The first work by Peale to enter the collection, the still life painting was purchased in memory of the museum's founder Ruth Carter Stevenson (19132013). The painting is on view beginning July 29 in the main gallery.
"Raphaelle Peale is considered the first American still-life artist," says Andrew J. Walker, director of the Amon Carter. "His paintings established the tradition in this country, and they remain among the most magnificent images of their kind ever created. Adding this superb painting by Peale gives depth to the collection, and it also provides us an opportunity to tell the story of how still life became a respected art form."
Raised within a large family of talented artists, Raphaelle differentiated himself from his younger brother Rembrandt (17781860) by refraining from the more lucrative career of portraiture. He also distanced himself from his father, Charles Willson Peale (17411827), by ignoring his disdain for the genre of still-life painting as an unsuitable pursuit for a professional artist. He did so at a time when the subject was at the bottom on the hierarchy of artistic genres.
"Raphaelle Peale's work was the foundation for notable American artists such as William Harnett, William McCloskey and John F. Peto, all of whom are represented in the Amon Carter collection," Walker says.
Peale often found objects for his compositions among the fruits growing at his father's estate in Philadelphia. Peaches and Grapes in a Chinese Export Basket is one of the artist's earliest signed and dated pictures. The carefully composed, well-balanced painting displays the artist's skills at illusionism.
"Peale had the tremendous ability to replicate the uncanny physical presence of three-dimensional objects on a two-dimensional surface," says Rebecca Lawton, painting and sculpture curator. "The objects depicted in this painting are so visually striking that they evoke our senses of touch, smell and taste. But, this painting, like so many of his works, is far from just an impeccably elegant picture that serves only the senses. It transcends a simple composition and expresses the moral tension between necessity and indulgence. It also reflects the social and cultural aspirations of a young republic after the American Revolution."