Now on View: Revolutionary Views: The American War for Independence in Print

A defining event of the 1700s, the American Revolutionary War was illustrated during the war through the United States’ centennial in 1876, and beyond. Over time, American, British, and European artists have offered their interpretations of important events related to the war to the print-consuming public. The prints exhibited in the Scottish Rite Masonic Museum & Library’s exhibition Revolutionary Views: The American War for Independence in Print—many based on paintings—depict historical occasions viewed through the lens of their creators’ national perspective or political agenda.

The Memorable Engagement of Capt. Pearson of the Serapis, 1780. Daniel Lepinière (ca. 1740–1785) and James Fittler (1758–1835), London, England. Special Acquisitions Fund, 78.74.12.

Works published in London during and at the end of the war reflect the English perception of significant conflicts. Published in 1780, the year after the clash occurred, The Memorable Engagement of Capt. Pearson of the Serapis illustrates the Battle of Flamborough Head in vivid detail. The engagement was an American naval victory that made John Paul Jones a household name. The inscription on this print expresses the English perspective, which put a positive spin on the conflict, praising Captain Richard Pearson, “whose bravery & conduct saved the Baltic Fleet under his Convoy though obliged to submit to a much superior force . . .”

Prints created in Philadelphia and New York after the war present American points of view, exhibiting pride in the accomplishments of colonial militia members and the Continental Army, and celebrating significant figures such as George Washington. These later prints often reflect national concerns at the time of their publication. During the tumult of the American Civil War, for example, printmakers created works to remind Americans of the country’s founding and its early ideals to inspire support for unity.

The Spirit of – 76, 1862. Painted by Tompkins Harrison Matteson (1812-1884). Engraved by Henry Samuel Sadd (1811-1893). Philadelphia, Pennsylvania. Special Acquisitions Fund, 77.75.7.

The Spirit of 76, printed in the second year of the American Civil War, aimed to inspire Union supporters to follow the lead of colonists who fought in the Revolutionary War. The man in the center of the room is preparing to join the fight. A woman holding a copy of the Declaration of Independence in one corner of the image reminded viewers of the ideals for which the Union was fighting.

Pivotal moments in American history, like George Washington’s crossing of the Delaware River prior to the Battle of Trenton, have been interpreted by artists in varying ways. Prints depicting this event offer alternative arrangements of the actors from the early 1800s, reflecting the motivations of the artists in their time. The museum’s collections include five different interpretations of this historic event, all titled Washington Crossing the Delaware.

Washington Crossing the Delaware, ca. 1876. Lithographed by John Cameron (ca. 1828-after 1896). New York, New York. Loaned by the Grand Lodge of Masons in Massachusetts, GL2004.3404.

Nathaniel Currier and James Merritt Ives, prolific publishers of historical scenes, offered their own illustration of the event in 1876, the centennial anniversary of both the Battle of Trenton and the signing of the Declaration of Independence. Washington is shown on a rise above the river, consulting with his staff as they prepare for the crossing. As the nation’s 100^th birthday approached, dramatic illustrations of Washington and other heroes of the Revolutionary War enjoyed widespread popularity.

As we look forward to the 250^th anniversaries of the Battle of Lexington in 2025 and the signing of the Declaration of Independence in 2026, American history will be illuminated through the lens of the 21^st century. Viewing these historical prints together, along with the other works in this exhibition, shows how past artists have interpreted—and celebrated—the past in different ways to inform and persuade their audiences.

"We Have Met the Enemy and They Are Ours": Perry's Victory on Lake Erie

This print depicts a signal moment in the career of Oliver Hazard Perry (1785–1819), the commander of the U.S. naval fleet on Lake Erie during the War of 1812, a conflict which ended in 1815. On the morning of September 10, 1813, British Naval Commander Robert Barclay fired the first shots of what would become one of the most important naval battles in the war. The confrontation took place on the western end of Lake Erie, near what is now Sandusky, Ohio. You can see a map of its location here. After hours of fighting, Perry abandoned his badly damaged flagship, the USS Lawrence, and took command of a relatively unscathed vessel, the Niagara, from her less-experienced commander, Lieutenant Jesse Elliott. The battle began anew, and the British ships—whose senior officers had been wounded or killed—soon surrendered. Perry informed U.S. General William Henry Harrison (1773–1841) of the victory with the now-famous words, “We have met the enemy and they are ours.” This strategic triumph ensured American control of the Great Lakes and secured Perry the name, “The Hero of Lake Erie.”

Although publishers Kurz and Allison did not identify the original painting that inspired this print, two monumental paintings by William Henry Powell (1823–1879) clearly served as a jumping-off point for the engraver. The legislature in Ohio, Powell’s home state, commissioned one in 1857. Completed in 1865, it now hangs in rotunda of the State House. The U.S. Senate's Joint Committee on the Library commissioned the other, larger version in the months after the first painting went on view. It has hung in the Senate wing of the U.S. Capitol since 1873.

Like many historic prints, this image reflects the era in which it was made as much as the event it depicts. For example, both Perry’s heroic stance in the boat and the flag behind him recall Emanuel Leutze's iconic 1851 painting George Washington Crossing the Delaware, an image that a far-reaching audience found familiar, thanks to a widely available 1853 print. In addition, although a number of the sailors in Perry’s fleet were African American, Powell may have included the black sailor in his 1857 painting to highlight the issues of slavery and race during the years leading up to the Civil War. Several decades later, during the post-Civil War Reconstruction era, Kurz and Allison followed suit when making their copy of the image.

You can see both Perry’s Victory on Lake Erie and Washington Crossing the Delaware in the exhibition, “The Art of American History: Prints from the Collection,” now on view in the Museum’s newly renovated lobby area.

Photos:

Perry’s Victory on Lake Erie, late 1800s. Kurz and Allison (1880–1903), publishers, Chicago, Illinois. Special Acquisitions Fund, 74.3.2.

Washington Crossing the Delaware, 1853. Emanuel Leutze (1816–1868), artist; Paul Girardet (1821–1893), engraver; M. Knoedler (1823–1878), publisher, New York, New York. Special Acquisitions Fund, 74.2.13.

George Washington in Lexington

Painted by lauded German American artist Emanuel Leutze (1816-1868), George Washington as a Master Mason portrays America’s first president as if he is presiding over a lodge meeting. 

The Scottish Rite Valley of Detroit purchased the painting in 1927 for display in their newly constructed and impressive Masonic Temple.  Exhibited in Detroit for decades, George Washington now watches over the National Heritage Museum’s auditorium.  A loan from the 32º Masons of the Valley of Detroit brought the painting to Lexington.

Interested in depicting inspirational moments in history, Leutze featured Washington in several compositions.  The best known of these continues to be George Washington Crossing the Delaware. Leutze first exhibited this now-iconic image to great acclaim in 1851.  Critics considered it a “great modern painting” in its day. 

But why did Leutze choose to paint Washington surrounded by Masonic tools and wearing an apron thought to have been given to him by Marquis de Lafayette?  (For more on the apron once believed the handiwork of Madame Lafayette, visit the Masonic Museum and Library of Pennsylvania.)  As far as we know, Leutze himself was not a Freemason.  New Yorker John Riston paid the princely sum of $10,000 for the large (over ten feet high) painting.  The artist likely created the work to fulfill a specific request from Riston.  Further research may help us understand the reason behind  Riston’s commission.  In the meantime, we hope you will enjoy Leutze’s celebration of one of America’s best-loved heroes in his role as a Mason on your next visit to our auditorium.

George Washington as a Master Mason, 1856.  Emanuel Gottlieb Leutze, 1816-1868.  Lent by the 32nd Degree Masons, Valley of Detroit, Michigan, EL2006.002