News Art Blog

Let others debate whether Santa Claus is white or not. There’s no debate that the definitive American Santa is political cartoonist Thomas Nast’s Merry Old Santa Claus (detail shown above) from the New Year’s Day 1881 edition of Harper's Weekly. If it looks a lot like the picture in your head from Clement Clarke Moore’s "The Night Before Christmas," you’re right—Nast borrowed heavily from 1823 poem and its “cheeks… like roses,” “nose like a cherry,” etc. But that wasn’t Nast’s first crack at depicting Old Saint Nick. Nast actually first drew Santa for the American public in 1863, during the midst of the American Civil War. In these sesquicentennial years of the War Between the States, it’s important to also remember the smaller sesquicentennials, such as this anniversary of the beginning of what we now “know” Santa to look like. Black or white, fat or thin—Santa and his Civil War roots say as much about the circumstances of his origins as about what he and the holiday mean today. Please come over to Picture This at Big Think to read more of "The Civil War Roots of Santa Claus."

We all love visual shorthand for our lives, whether it’s the Apple logo for technology or a flag for patriotism. Just as Thomas Nast’s version of Santa Claus endures as the quintessential Christmas image, Norman Rockwell’s classic painting of an American family at Thanksgiving (detail shown above, full picture here) has stood for seven decades as the single image most Americans associate with turkey day. But few Americans know the full story behind (or even the title of) Rockwell’s painting—the political and human rights roots of the text Rockwell aimed at illustrating. As we plan to sit down as a nation and give thanks, it’s important to remember what Norman Rockwell’s Thanksgiving picture’s really about. Please come over to Picture This at Big Think to read more of "What Norman Rockwell's Thanksgiving Picture's Really About."

It is believed that the first war-related photographs were taken in 1847 by an anonymous photographer during the Mexican–American War, of which we “Remember the Alamo” and little else. But when we think of the American Civil War, especially in this sesquicentennial year, we quite vividly picture the war thanks to the army of photographers that captured that conflict through the still-young medium and brought it back to the home front. The Metropolitan Museum of Art’s new exhibition, Photography and the American Civil War, studies how the “War Between the States” lives on as a dialogue between the modern viewer and century-and-a-half-old images as raw and fresh as pictures of contemporary wars beamed into our homes today. Of all the aspects of memory that feed our fascination with the Civil War, photography provides the single element that continually leaves us hungry for more. Please come over to Picture This at Big Think to read more of "How Photography Feeds Our Fascination With the Civil War."

[Image: Timothy H. O'Sullivan(American, born Ireland, 1840-1882). Alexander Gardner (American, Glasgow, Scotland 1821-1882 Washington, D.C.). Field Where General Reynolds Fell, Gettysburg, 1863. Albumen silver print from glass negative. Preceding page in the album with printed title and caption. Gilman Collection, Purchase, Ann Tenenbaum and Thomas H. Lee Gift, 2005. 2005.100.502.1 (37). Image: ©The Metropolitan Museum of Art, New York.]  
[Many thanks to The Metropolitan Museum of Art, New York, for providing me with the image above and other press materials related to Photography and the American Civil War, which runs through September 2, 2013.]

In our current “War on Terror,” it’s sometimes hard to imagine or appreciate the terrors of times gone by. For Americans of the 19^th century, stories of shipwrecks struck deep into their souls. Many harbored fresh memories of a harrowing crossing to the New World from Europe. Tales of rescue efforts that were too little, too late, or both filled newspapers and raised public ire. In the response to this uproar, the U.S. Government legislated in 1878 the development of a network of coastal life-saving stations called the Live-Saving Service. Six years later, Winslow Homer painted The Life Line, a celebration of these rescuing heroes that made Homer famous almost overnight and that still captures viewers’ imaginations today. Shipwreck! Winslow Homer and “The Life Line”, which runs at the Philadelphia Museum of Art through December 16, 2012, rescues the importance of this stirring picture not just as a great artistic achievement but also as a snapshot of a moment in time when heroes won their war on the terror of the seas. Please come over to Picture This at Big Think to read more of "Rescuing the Importance of Winslow Homer’s Life Line."



 
[Many thanks to the Philadelphia Museum of Art for the image above, an invitation to the press release for, and press materials related to Shipwreck! Winslow Homer and “The Life Line”, which runs through December 16, 2012.]