Tuesday, August 28, 2012


Unidentified Man, J.C. Leyendecker,
Unidentified Woman, and Norman Rockwell, April, 1925
Photo by White Studio, New York, New York.
Norman Rockwell Museum Collections
leifpeng's photostream

Sartorial Elegance
From RADIKAL FOTO at radikal.ru

 Charles Beach
From historicromance.wordpress.com

Joseph Christian Leyendecker met Charles Beach in 1903, when the young model from Cleveland first posed for him. The artist was impressed not only with Beach's handsome face and physique, but also with his ability to hold poses for extended lengths of time. Their relationship lasted until Leyendecker's death. Over the next thirty years, Beach's image as the "Arrow Man," as well as Leyendecker's other representations of him, became one of the most widely circulated visual icons in mainstream American culture. In this capacity, Beach became the symbol of American prosperity, sophistication, manliness, and style.
(Patricia Juliana Smith, glbtq arts at glbtq.com)

Don for Dress Arrow shirts
leifpeng's photostream
Guess whats on his mind?
James Blah's photostream at Flickr
James Blah's photostream at Flickr
Caught in the act of the plan
James Blah's photostream at Flickr

Gentlemen with Golf Club
From 1.bp.blogspot.com
Arrow Collar Man Advertisement 1910
From vintage-spirit.blogspot.com
Joseph Christian Leyendecker's art was always immediately recognizable after 1905. He developed a distinctive brush technique and a unique use of highlights within shadows. Some of his originals appear almost unfinished because he let the under painting show through to represent the brightest highlights.
(JVJ PUBLISHING at bpib.com)
To cross-hatch in oil paint, Joseph and his brother, Frank concocted a “secret formula” – a mixture of oils and turpentine – that was coveted by other artists. When mixed with paint, it enabled a slashing stroke without the brush going dry. It provided the speed and dexterity of pencil, with the graphic impact of color. The Leyendeckers were, essentially, drawing with paint. Leyendecker was a keen commercial strategist. In evaluating how to best promote himself and his work Leyendecker believed that his greatest impact as an artist was creating images easily reproduced, immediately recognized and broadly distributed for audiences by the millions to appreciate. He made certain that upon seeing his work people would say, “That’s a Leyendecker!”.
Indeed, since recent advancements in the technology of printing and distribution had made illustrations a staple of the rapidly-expanding magazine industry, it’s fair to say Leyendecker became the most successful commercial artist in American history. From there he poured forth an amazing quantity of illustrations, covers and advertisements.
Putting a color illustration inside a magazine was then a logistical nightmare. Color demanded special paper and printing care. Issues of magazines were practically designed around the color plates, which had to be collated between signatures or else individually glued in. One magazine, Delineator, came up with an idea: a feature comprised of a half dozen color plates that integrated text and art. By moving the text into the illustration, Delineator could insert this group between two signatures. Inserting the plates as a group incurred no more binding expense than if one sheet was inserted (it was done by hand). Other magazines quickly followed with similar color sections. This new ability to reproduce color illustrations took the magazine industry by storm and the Leyendecker competed strongly for works that merited the expense.
Arrow Collars and Cluett Shirts
From liveinternet.ru
An elegant lifestyle
From 2.bp.blogspot.com
An elegant lifestyle
From RADIKAL FOTO at radikal.ru
Leyendecker's style was marked by wide, deliberate brush strokes and remarkable eye for detail and non-detail. He obviously worked very fast, carefully illustrating the important aspects of the subject while washing the unimportant with spontaneous splashes of color and texture. Since he had to generate lots of art very quickly, he would keep 'parts' of paintings handy as sketches, and many times incorporate those into more than one painting. He was known to draw heads of Arrow shirt models as recreational sketching, leaving the neck areas blank for adding in collars later. The most wonderful part of his art were the images of people, their expressions and posture. He didn't just paint people. His subjects were always dramatic, and posed in active/interactive positions, many times under great stress. His women were beautiful, his men were handsome and the incorporation of children, angels, animals and all kinds of floral embellishments made each painting a fascinating vision.
(Fred Showker , DT & G design at graphic-design.com)
The Dochester-The Cluett
From RADIKAL FOTO at radikal.ru
Golf or Tennis 1910
From 1.bp.blogspot.com
From 4.bp.blogspot.com
Leyendecker's technical skill and originality were beyond reproach, or even reach. His draughtsman ship was perfect, and his great speed could accelerate to meet deadlines. His secret paint formula and legendary aloofness added to a mystique that often seemed the stuff of myth. Though Leyendecker was a magician with the paint brush, it would be uninstructive to compare him to other great painters of his era. His aims were not theirs.
As a graphic designer, however, he was one of the greatest. The advertisements and magazine covers Leyendecker created are strong, lean and logical, usually with a whimsical flavor and complemented by his flashy style. The final product was a buzzing latticework of juicy brushstrokes which belied their arduous preparation. As with good magicians, Leyendecker showed his audience only what he wanted them to see. Each published painting was the distilled product of a great amount of work. Once satisfied with his pencil sketch of an idea, Leyendecker would pose models in costume and directly paint oil on canvas, sketching the figures in various positions until the pose was just right.
As a point of pride, Leyendecker always worked with models, dismissing the use of photographic reference as a wrongheaded distraction. His sketches have a lively spontaneity; they also map his thought process. Some consider them better than the finished paintings. No matter how well Leyendecker's preliminary figure sketches came out, he always painted a more refined final version after the model was dismissed. This method allowed him to extract the essence of the figure, to change it from a person into a personage. Not only holiday symbols, but every character Leyendecker used underwent his refinement process, becoming an icon of itself.
(Roger T. Reed, TFAO at tfaoi.com)
JC Leyendecker
Leyendecker's last years were sad. The ascendancy of photography meant he had to go himself to peddle his gorgeous paintings to art editors, which he had never done before. He died at home of a heart attack in 1951 with Beach close at hand. The funeral was held in the studio of Leyendecker's home. The pallbearers were virtually the only ones present with Rockwell being one of the pallbearers, the rest of whom were JCL's male models. The New Rochelle newspaper reported, however, that a funeral mass was held at Blessed Sacrament at ten o'clock, July 28, 1951. Having made and spent a fortune, Leyendecker was buried in an unmarked grave in Woodlawn Cemetery at 233rd Street in The Bronx, New York. The grave was marked by the director of The Haggin Museum in California several years later.

Tuesday, August 21, 2012


Federico Zuccaro
Self Portrait
‘Galleria degli Uffizi’
From commons.wikimedia.org

Federico ZUCCARO
From fineart-china.com

Federico Zuccaro ranks among the major painters of the late 1500s. He was a proponent of the Mannerist style, which formed a bridge between the Renaissance and Baroque periods. He trained in his older brother’s studio, assisting Taddeo on important commissions. Between 1563 and 1565, Federico was in Venice and Florence, returning to Rome in 1566, the year of his brother’s death. He worked on the cupola frescoes of the Duomo in Florence, and became court painter to Philip II of Spain.

Renaissance Rome
From iicbelgrado.esteri.it

Renaissance Rome
From iicbelgrado.esteri.it

‘Figures debout et agenouillées’
Current Loc Musée des Beaux-Arts
From commons.wikimedia.org

In 1565, after Taddeo‟s death, Federico obtained a commission to work in Florence as a decorative painter for the wedding of the Grand Duke de‟Medici and Joanna of Austria. He would remain in the city for nearly a year, working on this and other commissions. In late 1566 he returned to Rome and remained there on and off until the spring of 1574, when he then traveled to Antwerp and, from there, on to London. Zuccaro‟s central purpose in traveling to London was so as to paint (now lost) portraits of Robert Dudley, Earl of Leicester and the Queen. What is certain is that Zuccaro obtained a letter of introduction from the Tuscan Ambassador Chiappino Vitelli, who was then in Antwerp. The letter, directed to the Earl of Leicester, recommends Zuccaro as a respected master painter (and fellow countryman of Vitelli‟s) upon whom both Leicester and the Queen could rely. Although very few of Zuccaro‟s English works remain, there are some extant studies (as drawings) for portraits of Leicester and the Queen, suggesting that Vitelli‟s intercession provided Zuccaro with some support in his (apparent) desired entrée into the English court.
Federico spent over a year in London, living in the house of the Earl of Leicester, waiting to see if Queen Elizabeth would assign him a major painting commission (she didn't) and painting her portrait and that of the Earl, among others—and the Doge and Senate of Venice. Mundy suggests that "while Taddeo might be said to revel in the local artistic dialogue, Federico would aspire, in his drawing, painting, and his theoretical works, to a visual form of Esperanto . . . equally at home in Rome, Venice, or Madrid". Unlike Taddeo, for whom, as for Michelangelo, the human body was the primary means of conveying meaning in art, Federico used the common language of symbols (undergoing codification in the manuals of the late sixteenth and early seventeenth centuries so that gentleman could understand the vocabulary of the new generations of artists). "When this language was decoded, it carried a specific meaning that spoke to a sophisticated, educated audience”. (spaightwoodgalleries.com)

Scenes from the Early Life of Taddeo Zuccaro
Pen and brown ink
Brown washes over black chalk
Touches of red chalk
All images from donmacdonald.com

In this series of drawings,above, Federico Zuccaro illustrated the early life of his older brother Taddeo Zuccaro, from the hardships of his early training in Rome until his first artistic triumph at the age of eighteen. In addition to the sixteen scenes from Taddeo’s life, the series includes four drawings of allegorical Virtues flanking the Zuccaro emblem. The drawings vividly convey a sense of the artist’s material and intellectual life in Renaissance Rome. Details of studio practice join depictions of precise locations, monuments, and antiquities and references to the great artistic personalities of the Renaissance, including Michelangelo and Raphael. Scholars believe that the shape of the drawings shows that they were studies for decorative ceiling panels. Because so many of the sheets contain images of Rome, they may have been intended for frescoes in the Palazzo Zuccari in Rome. In Federico’s will of 1603, he left his palazzo to the Accademia di San Luca so that it could be used as a hostel for poor, young artists coming to study in the capital. The imagery of Taddeo’s early struggles would have been an appropriate reminder for the students at the beginning of their careers.
(According to the Getty Museum website at donmacdonald.com)
Like a movie storyboard, the remaining chalk and ink drawings sequentially outline the next four years of Taddeo's life. Aside from three occasions when paired allegorical figures (Fortitude and Patience; Wisdom and Diligence; and Study and Intelligence) interrupt, the narrative proceeds with swift economy. In a few of the often oddly shaped pictures (whose outline resembles a plump pair of weightlifter's dumbbells), several moments are compressed into single scenes. In one, Taddeo appears four times: as his apprenticeship to his cousin, the painter Francesco Sant'Agnolo is rebuffed; as he wanders the streets in tears; as he is stopped in his tracks by the Palazzo Calcagni's elaborately decorated facade; and as he sketches Polidoro da Caravaggio's work, overcoming his sadness through art. Difficulty makes up a large part of the boy's first years in Rome. Just after he beholds a spectacular panorama of the Italian capital, a frightful trio confronts him on his entry to the city. Identified by inscriptions on their clothing, Servitude, Hardship and Toil drive home the point that the immediate future does not bode well for the aspiring artist. This notion is repeatedly illustrated in his labors for the minor painter Giovanni Piero Condopulos, who treated Taddeo cruelly, forcing him to toil long into the night, denying him food and preventing him from pursuing his art. In another "time-lapse" image, he makes a bed, carries water and firewood, lights the stove and cooks dinner. Throughout these hardships of Dickensian proportion, his drive to make art is undiminished. Whenever he can steal a moment from his heartless masters, he can be seen, pencil in hand, drawing determinedly on any available scrap of paper--even on the shutters of his bedroom window. Upon quitting his day job, he explores the city, sketching ancient sculptures and friezes and modern facades and frescoes, including Raphael's works at the Villa Farnesian. But life on the street is tough, and Taddeo returns to his parents' home, sick, malnourished and plagued by hallucinations. (articles.latimes.com)

Scene from Taddeo’s life
From donmacdonald.com

In no time at all, he's back on his feet. Crossing paths with the Three Graces, he again enters Rome, where he copies more masterpieces, including Michelangelo's "Last Judgment," from the Sistine Chapel. His story ends in triumph, with Taddeo raised high on a scaffold, painting the facade of the Palazzo Mattei as Michelangelo, Giorgio Vasari and others looking on admiringly.

Scene from Taddeo’s life 
From donmacdonald.com

This work shows the 14-year-old Taddeo gazing longingly over his shoulder at his distraught parents, as a pair of muscular angels lead him away from the small town of Sant'Angelo in Vado, where he was born, and toward Rome, where he dreamed of studying painting and drawing. Looking clueless and terrified, the 4-year-old Federico peeks out from behind his mother's dress.

Scene from Taddeo's life
From donmacdonald.com

Federico Zuccaro noted that, "When (his brother Taddeo) was living in the house of Calabrese he could never make drawings in the daytime and hardly ever in the evenings, and at night he had to go to bed in the dark because he was grudged even a drop of oil for a lamp; but his desire was so great that he would get up and draw by moonlight on the windows." Here Taddeo Zuccaro has leapt out of bed half-dressed in order to frantically sketch the Tiber river, Castel Sant'Angelo, and the dome of Saint Peter's basilica under construction by moonlight. He has only had time to put on one slipper, while the rest of his clothing lies haphazardly beside the bed in the corner. Federico added many small details of everyday life: the chamber pot under the bed, the jagged board Taddeo used to support his paper, and the shutters on whose makeshift surfaces he has drawn figures. These all create a vivid impression of a young artist's material life in Renaissance Rome.

Taddeo in the Belvedere Court in the Vatican
Scene from Taddeo’s life
From donmacdonald.com

Drawing the Laocoön is of particular significance to Baroque art because it emphasizes the importance to artists of drawing from nature and from classical antiquity. It was thought that the classical masters of antiquity had a full grasp on nature, and so copying a work such as the Laocoön from the first century BC was a step in the right direction for a young learning artist. Federico drew Taddeo seated in the Belevedere Courtyard, surrounded by classical sculpture – a dream world for any eager artist of the time. Works depicted in Federico’s drawing include Laocoön and His Two Sons, Apollo Belevedere, and Tiber and Nile, the river god sculptures. Unfortunately, such a vast array and contrappasto of works are no longer located all together in the Courtyard. They are now in the Vatican Museums, where one can still stand in awe of the classical masters, just as the Zuccaro brothers once did.
(Brooks, Julian. Taddeo and Federico Zuccaro: Artist-Brothers in Renaissance Rome. Los Angeles: Getty Publications. 2007 at bettybaroque.wordpress.com)
1585-Painted Doge’s Palace in Venice
1594-Worked on the adoration of the Magi (cathedral, Lucca) demonstrates greater   oncessions to  naturalism foreshadowing the baroque 16th century
       -Helped develop the Mannerist style in Central Italy during the mid-16th century
       -Among Federico’s important works is the large Barbarossa making obeisance to the Pope
       -Federico established the Academy of Saint Luke in his own house in Rome (now Biblioteca Hertiziana)
1607-He was also in a theoretician; his L’Idea de’scultori, pittori et architetti (The idea of sculpture, painting and architecture), was first published in Turin
1609-Died on July 20

Thursday, August 16, 2012


Emile A. Gruppe
An outdoor painting class in Gloucester
Photograph: Emilie Gruppe Alexander
From spanierman.files.wordpress.com

Provincetown Docks
From questroyalfineart.com

Drying the Sails
From cottoneauctions.com

Morning, Gloucester
From pocockfineart.com

Evening Light Gloucester
From pocockfineart.com

Emile A. Gruppé (1896-1978) painted views of Gloucester’s harbor at all times of day, taking great delight in conveying aspects of light and air, as well as a sense of place. Art historians refer to him as a Regionalist painter whose work was informed by as Realism, Tonalism and Impressionism. However He would quickly have dismissed these art historical labels and our tendency to categorize artists by their style. This isn’t surprising in view of the fact that Gruppé had a reputation as a boisterous extrovert whose goal, besides creating a beautiful work of art, was to infuse his paintings with aspects of his own character––hence his advice to his students to “have a good time when you paint”.
As he informed his readers in Gruppé on Color, good art wasn’t just a matter of technique and motif; rather it was personality, too. You paint the way you’re made. And the viewer, looking at your pictures, is interested because he senses your mind and emotions at work . . . If you’re bold and outgoing, your work will show it. If you’re small-minded and grasping, your work will show that too. (Carol Lowrey at spanierman.files.wordpress.com)
Emile Gruppé was born in 1896, the son of renowned painter Charles Gruppe. He studied with George Bridgman, at the Art Students League, at the National Academy of Design, in Woodstock NY under John F. Carlson, and in Massachusetts with Charles Hawthorne, Richard Miller, and George Chapman. He was a member of the Salmagundi Club, North Shore Art Association, Gloucester Society of Art, Rockport Art Association, Longboat Key Art Association, Sarasota, St. Augustine Art Academy, and the Woodstock Art Association.
Gruppé is best known for his impressionistic renderings of fishing boats docked at Gloucester and Rockport, and his Florida scenes where he wintered. In 1942, he founded the Gruppe Summer School in Gloucester.

Winter Scene
A stream winding through a sunlit forest
From jamesdjulia.com

Woman Gardening, Naples, Florida
From edwardanddeborahpollack.com

Florida Skies over the Everglades
From pocockfineart.com

Sunset over Hurricane Pass, Marco Island
From pocockfineart.com

Gruppé died in 1978 at the age of 82. In one of his last interviews he revealed his philosophy of painting: "If you want exacting details in a painting, than you might as well look at a photograph. I make an impression on a canvas, and let one's imagination fill in the details."

Monday, August 13, 2012


William Henry Jackson Early Portrait - 1860s
From oldoregonphotos.com

Portrait of WH Jackson by FP Clatworthy
From oldestes.com

William Henry Jackson’s camera
From i.gettysburgdaily.com

Photo of W.H.Jackson in later years

William Henry Jackson (April 4, 1843 - June 30, 1942) is best known as the first person to photograph the wonders of Yellowstone. His images adorned the parlors of millions of American households and aided in the effort to create the world's first national park. Jackson was also an accomplished artist who recorded his experiences as a young man. His drawings and paintings provide valuable insights to life in a time when America was suffering through the Civil War and venturing westward in search of a national identity.
Growing up in Keeseville, New York, Jackson could not recall a time when he was not drawing pictures. His mother was an accomplished painter of watercolors, and he credited her encouragement with his later success. At the age of 10, Jackson received his first formal artistic training, learning to use perspective and form, color and composition. His drawings now began to take on a more realistic and mature appearance.
His first job as an artist was not a glamorous one. In 1858, he was hired as a retoucher for a photographic studio in Troy, New York, where he worked for two years. His job was to warm up black and white portraits by tinting them with watercolors and to enhance details in the photographs with India ink. During this time, he learned how to use cameras and the darkroom techniques of the time.
William Henry Jackson was a great-great nephew of Samuel Wilson, the progenitor of America's national symbol Uncle Sam. After his boyhood in Troy, New York and Rutland, Vermont, in October 1862 Jackson at the age of 19 joined as a private in Company K of 12th Vermont Infantry of the Union Army. Jackson spent much of his free time sketching drawings of his friends and various scenes of Army camp life that he sent home to his family as his way of letting them know he was safe. Later he fought in the American Civil War for nine months, including (only) one major battle, the battle of Gettysburg, but Jackson spent most of his tour on garrison duty and was guarding a supply train during the engagement. His regiment mustered out 14 July 1863. Jackson then returned to Rutland, VT, where he eventually got into creative crisis as a painter in post-Civil-War American society. Having broken his engagement to Miss Carolina Eastman he left Vermont forever, for the American West.
In 1866 Jackson boarded a Union Pacific railroad and traveled until it reached the end of the line at that time, about one hundred miles west of Omaha, Nebraska, where he then joined a wagon train heading west to Great Salt Lake as a Bullwhacker, on the Oregon Trail. In 1867 along with his brother Edward Jackson he settled down in Omaha, NE and got into the photography business. On ventures that often lasted for several days, Jackson acted as a "missionary to the Indians" around the Omaha region and it was there that Jackson made his now famous photographs of the American Indians: Osages, Otoes, Pawnees, Winnebagoes and Omahas
William Henry Jackson is known as America’s pioneer photographer. He published tens of thousands of prints of his work and that of other photographers, wrote extensively, painted and sketched, and built two of the most successful photographic view companies in the history of photography, his studio in Denver and later the Detroit Photographic Publishing Company. Best known for his dramatic and descriptive nineteenth-century Western-landscape photographs he worked in formats ranging from cdvs to gigantic single print multi-mammoth plate panoramic up to 92 inches wide.
Throughout his life Jackson found he preferred outdoor work. In Omaha he continued photographing the Pawnee and Omaha Indians in the vicinity. By 1869 he was traveling with A.C. Hull westward along the Union Pacific Railroad from Omaha, photographing towns, settlers, railroad workers, and some landscapes and received an order for 10,000 views from Edward Anthony of New York.

Studio portrait of delegate Coho
(Nuqnikus, Lame Man)
From americanindian.si.edu

Chief Ouray, Ute Chieftain, and his sub-chiefs
Peoples of Utah Photograph Collection
From content.lib.utah.edu

George Manhart's store
Early town of Round Corral (later called Sedalia.)
From douglascountyhistory.org

The Twenty Mile house
Cherokee Trail
From douglascountyhistory.org

Camp along Medicine Bow River
Hayden Expedition
From userpages.aug.com

The Union Pacific reached Medicine Bow in 1868, when the town consisted of little more than a store and saloon. Jackson in 1869 followed the Railroad from town to town across the Territory. Thus, he had visited the area before his joining of the Hayden expedition pictured above.

Tower Falls, Yellowstone National Park
From content.answers.com

Jackson's artistic growth as a landscape photographer germinated with the 1869 work and quickly matured when he was hired by Ferdinand V. Hayden as the official photographer for the U.S. Geological and Geographical Survey of the Territories. Influenced by Thomas Moran, a painter on the survey, and photographers C. R. Savage and A. J. Russell, Jackson absorbed the aesthetic of romantic engagement of the western landscape and development and colonization of the Territories. However, this was countered by the inherent drama of being the first to photograph many high mountain peaks, valleys and western scenes in a more descriptive and topographic style.
He and Hayden published portfolios to be sold and given away during this time, including albums on Yellowstone, the four corners area of the American Southwest and of American Indians.

Family encamped near the head of Medicine Lodge Creek
Clark County, Idaho, June 11, 1871
US Geographical and Geological Survey of 1871
From nmai.si.edu

Grand Canyon of the Colorado 1880
From kitp.ru

Lake Worth Railroad, Florida,1896
From pixdaus.com

At Dinner
Henry Gannett album
George Eastman House
Still Photograph Archive
From geh.org

William Henry Jackson worked in multiple camera and plate sizes, under conditions that were often incredibly difficult. His photography was based on the collodion process invented in 1848 and published in 1851 by Frederick Scott Archer. William Henry Jackson traveled with as many as three camera-types-- a stereographic camera (for stereoscope cards), a "whole-plate" or 8x10" plate-size camera, and one even larger, as large as 18x22". These cameras required fragile, heavy glass plates (photographic plates) which had to be coated, exposed, and developed onsite, before the wet-collodion emulsion dried. Without light metering equipment or sure emulsion speeds, exposure times required inspired guesswork, between five seconds and twenty minutes depending on light conditions.
Preparing, exposing, developing, fixing, washing then drying a single image could take the better part of an hour. Washing the plates in 160 °F hot spring water cut the drying time by more than half, while using water from snow melted and warmed in his hands slowed down the processing substantially. His photographic division of 5-7 men carried photographic equipment on the backs of mules and rifles on their shoulders - Siouxess still made scalping - William Henry Jackson's life experience (as military, as peaceful dealing with Indians) was welcomed. The weight of the glass plates and the portable darkroom limited the number of possible exposures on any one trip, and these images were taken in primitive, roadless, and physically challenging conditions. Once when the mule lost its footing, William Henry Jackson lost a month's work, having to return to untracked Rocky Mountain landscapes to remake the pictures.
(William Henry Jackson Biography by leegallery.com)

Longs Peak
The entrance to the Big Thompson Canyon
From oldestes.com

The photographs and art work, which comprise the bulk of the William Henry Jackson collection in the L. Tom Perry Special Collections, include 1,082 individual items, of which 1,079 can be found in this digital collection. There is an astonishing range of subjects and media, and a significant number of images from every phase of his long and prolific career. Approximately 1,000 of the photographs are attributed to Jackson, with three photographs clearly those of his son, Clarence S. Jackson.

A Tea Planter, Gampola, Ceylon
From museumsyndicate.com

Mountain Road near Haputale, Ceylon, 1894
Oxen and man pulling thatched wagons
World Transportation Commission
From lankapura.com

An old water-wheel in the suburbs of Tunis
Published as halftone in Harper''s Weekly, 1895
From popartmachine.com

Geographically the collection is dominated by scenery of the western United States and Mexico, but also includes 231 images from all of the Asian and Pacific countries, except Korea, visited from 1894-1896, as a part of the World Transportation Commission travels. Because of his lengthy stay in Colorado, the over 190 Colorado images form the largest single group of western photographs. The over 90 images of Mexico form the next largest group of photographs. Native American portraiture, with approximately 60 images, Yellowstone, 56 images, and Utah, 21 images, also form important portions of the collection. The approximately 30 pieces of art, in various media, are western in their focus.
(HAROLD B. LEE LIBRARY at lib.byu.ed)
Jackson moved to Washington, D.C. in 1924, and produced murals of the Old West for the new U.S. Department of the Interior building. He also acted as a technical advisor for the filming of Gone with the Wind.
In 1942, Jackson died at the age of 99 in New York City. He was honored by the Explorer's Club for his 80,000 photographs of the American West. The SS William H Jackson steamship was in active service in 1945. Recognized as one of the last surviving Civil War veterans, he was buried at Arlington National Cemetery. Mount Jackson el. 8,231 feet (2,509 m) just north of the Madison River, in the Gallatin Range of Yellowstone National Park is named in honor of Jackson.