Exhibition
Art in Revolutionary Philadelphia
About
As the political climate in Philadelphia grew increasingly charged throughout the 1770s, art became currency. Some Philadelphians who supported the patriot cause gave art in payment of taxes to help fund the war. Those loyal to the British crown (loyalists) clung to their houses and art, including furnishings, until they were ultimately confiscated or, if portable, joined their owners in exile. After the American Revolution (1775–83), art and furnishings were sold at public auctions.
Art in Revolutionary Philadelphia is presented in the gallery adjacent to the elegant Powel House Period Room (gallery 287). For the purposes of this installation, this room is interpreted as part of British General William Howe's encampment in Philadelphia from September 1777 to May 1778, when the British occupied the home of Elizabeth and Samuel Powel. (The Powels were relegated to living in the servants' quarters.) In addition, this exhibition includes rare objects from the Meschianza celebration of May 1778—the raucous final farewell to the British as they left Philadelphia. This presentation allows Museum visitors to see the featured works of art through the lens of a truly seminal period in American history—to consider the unexpected roles art played in the lives of individuals and families during the American Revolution.
Gallery Guide
Powel House Room
James Clow
Tea Table
William Savery
Tankard
Joseph Anthony, Jr.
Coffeepot
Philip Syng, Jr.
Gallery Guide
Armchair, 1765-1770
Possibly by Thomas Affleck, American (born Scotland), 1740 - 1795
Carving attributed to Nicholas Bernard and Martin Jugiez, American, active as partners 1762 - 1783
Mahogany, oak, modern upholstery materials
40 1/2 x 28 3/4 x 28 1/2 inches (102.9 x 73 x 72.4 cm)
Lent by the Commissioners of Fairmount Park
Table, 1765-1775
Possibly by Thomas Affleck, American (born Scotland), 1740 - 1795
Mahogany; marble top
31 x 44 3/4 x 24 inches (78.7 x 113.7 x 61 cm)
On loan from The Dietrich American Foundation
Looking Glass, 1760
Walnut and gilt mirror with beveled edge
68 x 29 x 2 inches (172.7 x 73.7 x 5.1 cm)
Collection of the Library Company of Philadelphia, Gift of Mrs. John Meredith Read, 1900
As the British neared the end of their occupation of Philadelphia in the spring of 1778, they planned a grand farewell for General William Howe, who had been recalled to England. The festival, which was orchestrated by Captain John André, the infamous British spy, took place on May 18, 1778, outside the city at the country estate of Joseph Wharton. Known as the Meschianza, a name that evoked Italian parades of pageantry, the event began with a trip down the Delaware River to the estate on lavishly decorated barges, included a mock jousting tournament in which “knights” competed for the affection of young loyalist ladies, and culminated with dinner and a ball.
Temporary structures akin to stage sets were painted, tents and pavilions were erected, special costumes were designed, and items like mirrors (such as the one shown to the left) and chandeliers were borrowed from nearby estates to create an environment of luxury and elegance. The celebration allowed loyalists to escape the anxiety accompanying the impending departure of the British and the harsh realities of life in a war-torn region.
Meschianza Ticket, 1778
Attributed to Captain John André, English, 1750 - 1780
7 7/8 x 6 5/16 inches (20 x 16 cm)
Collection of the Library Company of Philadelphia, Gift of Mrs. John Meredith Read, 1990
Sketch of Ladies' Costume, May, 1778
Attributed to Captain John André, English, 1750 - 1780
Collection of the Library Company of Philadelphia, Gift of Mrs. John Meredith Read, 1990
Philadelphia is often called the Revolutionary City. It was the center of political power for the patriots during their fight for independence from Great Britain, served as the setting for the meetings of the Continental Congress and the writing of the Declaration of Independence (1776) and the Constitution (1787), and eventually became the temporary capital of the United States (1790–1800). The emphasis on Philadelphia’s role as the center of patriot politics and power obscures the fact that the Continental Congress fled from Philadelphia in September 1777 and British troops occupied the city for the next nine months. From late 1777 to early 1778, Philadelphia was a British city occupied largely by loyalists, people who continued to be loyal to the British rather than joining the fight for colonial independence.
Art became imbued with layers of meaning in this highly charged and constantly changing environment. During this time, furniture, silver, paintings, and even household items were seized and sold, hidden and saved, and moved unchecked from owner to owner. This exhibition explores the difficulty of defining art as being either patriot or loyalist, and considers the personal, political, and economic forces that shaped the revolutionary story of shifting people, places, and objects.
Curators
Alexandra Alevizatos Kirtley, The Montgomery-Garvan Associate Curator of American Decorative Arts with Katherine Rieder, former Barra Fellow, guest curator
Sponsors
This exhibition is made possible by the Center for American Art at the Philadelphia Museum of Art.