Academy of Design

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Academy of Design, Chicago Academy of Design
Life Span: 1870-1871
Location: Crosby’s Opera House
Adams Street near State Street
Architect: Unknown

Edwards’ Annual Directory in the City of Chicago, for 1870-71

Academy of Design

Edwards’ Annual Directory in the City of Chicago, for 1871
Academy of Design, 66 and 68 Adams

Lakeside Annual Directory of the City of Chicago, 1880
Academy of Design, 103 State

Chicago Evening Post, November 7, 1867

The Academy of Design— Progress and Prospects of the Art Gallery—’ The Artists “ Home Again”
The Chicago Academy of Design has now found its proper local habitation in the Opera House Gallery; and with the more congenial quarters, more convenient surroundings, and new plans and manage-ment, we anticipate an immediate future of success. The plan of the organization is wisely a large one, embracing not only painting and sculpture, but engraving and other useful arts with which taste concerns itself. The gallery rooms are to be open twice a week to members, who will have opportunity to employ themselves in chosen directions, each enjoying the benefit of the others’ judgment or aid. It is hoped and expected that the institation will ere long be able to devote itself to systematic instruction in all branches of the fine arts. An annual exhibition is contemplated, in which the works of both purils and masters may be seen. We trust that the Academy will command the interest and efforts of all our artists, as we believe it to be in a position now to afford useful occasion and aid to students of art not only, but to art itself in the persons and works of those who already enjoy the rank of artists. Arrangements are made which look to the speedy enlargement of the scope and usefulness of the Academy, prominent among which is the opening of a work room in immediate connection with the Gallery.

We should not neglect to say that the Academy have made very favorable terms with Mr. Aitken, the accomplished and liberal Superintendent of the Gallery. Speaking of whom, it is pleasant to be able to say, that the prospects of the Gallery are rapidly brightening under his management. The arrangements which we mentioned a few weeks ago are being perfected. The year-tickets are finding a good many subscribers; and we may look for a, constant succession of novelties from Eastern easels and galleries, which shall be good as well as new. Inter alia arrangements are made for the early exhibition of Noble’s great picture of The Slave Mart, as also of his John Brown, a fine engraving of which will soon be placed in the gallery. Mr. Aitken will soon exhibit a fine collection of chromo-lithographs, a single specimen of which now attracts attention in the engraving room. Love’s Melancholy, from an original by Mayer.

We are gratified to record the return of Mr. Ford and Mr. Bigelow, landscape artists, from their summerings. Mr. Ford has spent his time, industriously as usual, mostly in the Adirondacs, and a short time in Western New York and Northern Ohio. His sketches are quite numerous, and nearly all merit the name of “studies.” Among them are several fine lake and mountain views. But we confess ourselves particularly pleased with his tree and forests studies, and commend the taste of a citizen, who, on examining his porifolio, gave a commission for copies of a couple of these latter quiet, open forest scenes, with noble beech, walnut and lindens, scattered here and there, and broad patches of sward and sunlight between.

Mr. Bigelow has sojourned among the lakes and mountains of Vermont, and his portfolio is rich in those open, Arcadian scenes which he so happily reproduces, and in a variety of smaller studies and sketches of foliage, rock, water, and sky. Some of his sky-studies are very striking, and we expect to see in his pictures palpable and grateful evidences of this industrious attention to a leading element of landscape art which too rarely commands the studious and practiced efforts of the artist.

We understand that G. P. A. Healy, Esq., has also returned from his trans-Atlantic tour, although we had not the pleasure of finding him in his studio.

Mrs. St. John is making striking progress, particularly in the direction of strength and vigor, in her crayon portraits. Among her recent efforts, illustrative particularly of these qualities, we would instance particularly the portrait of Mr. Adams, the actor, taken during his recent visit, and one of Mrs. Cowell, of McVicker’s theatre,—a profile view, full of animation and remarkably characteristic and strong in expression.

Of the younger artists, Baird, Elkins, Gookins and others, we have only space to say now that they are making progress in their work, and meeting with liberal patronage at the hands of our citizens. We hope to give them the attention which they deserve ere long.

Paul Brown has returned from St. Paul, where he has spent the past year, bringing a variety of sketches from the upper Mississippi region. At present he is mainly
giving attention to photographic portraits im oil, in which he is achieving decided success.

History of Chicago, A. T. Andreas, 1884

It was in 1866 that the real history of Art in Chicago began, with the inception of the Academy of Design. This organization secured its first impetus from a few professional artists, who desired to found an institution which should promote and foster taste for the fine arts, and encourage harmonious emulation among artists. Their first meetings were held in the Portland Block, late in the year 1866, and the first officers chosen were as follows : President, Sheldon J. Woodman; Vice-President, Charles Peck; Secretary, Walter Shirlaw. A constitution and by-laws were adopted, in which the aims of the Academy and its scheme of government were set forth. Its support was to be derived from monthly dues paid by artists. Free schools were instituted for instruction in drawing from life and from antique models. It was early determined to give an exhibition of such works in painting and sculpture as could be collected from artists and private individuals, and the following announcement of the intentions of the society was made by circular to the public:

Crosby’s Opera House

Jevne & Almini’s building

About thirty-live members were enrolled at this time, including some of the first artists in the city. The reception at the Opera House was very successful, but in the ten days that intervened before the exhibition public interest had flagged and the result was a pecuniary loss. Discordant elements were found to exist from its inception, and this society soon found its grave,

Chicago Tribune, September 17, 1870

The Chicago Academy of Design is an institution whose good influences in local art matters of pride, and congratulation with all our citizens. This circumstance is the more prominently brought before the public just now, when the new building, erected expressly for the academy, is approaching completion.

The building—of white Athena stone, and 80 feet frontage—is located on Adams street, near the corner of State, and has all the advantages of the new centre which wealth and enterprise have given our city. Built for the exclusive use of the Academy of Design, it has been planned in the most approved style of an art building. The front elevation has five stories, the ground floor occupied by two large stores, and all the others by artists’ studios—large, commodious rooms, very different from the quarters which are usually associated with artists. The high success which the fine arts have attained in this city is well demonstrated by the circumstance that every one of these studios has been already bespoken by Chicago art artists, so that the institution, under the new order of things, will start off prosperously. The rooms have excellent light, and sealed walls instead of plaster. for the hanging of pictures.

Beside the studios, there is on the first floor above, occupying the whole length of the frontage, a handsome lecture-room, which is to be used for the art-lectures before the academy, and rented out for such respectable entertainment and companies as may be acceptable to the academy. Above this hall are the galleries, two of them connected together, and only two stories above ground. The larger of these is the off painting gallery, and the smaller; the water-color and statuary gallery, and it is intended to connect a third, so soon as the building in the west shall be erected. The galleries have a height of 34 feet, lighted from the top with smooth plate ground glass, which will cast a perfectly steady and somewhat subdued light upon the paintings. The walls are to be tinted, about half way up, with a delicate maroon, which from this point, will blend gradually into white at the top. At the academy receptions, and all other entertainments, the galleries, the halls, studios, and the lecture-room, are all to be thrown open.

Beside the studios, lecture halls, and art galleries, the academy has large school-rooms, where 250 casts will be placed, 250 of them—the Scammon collection—being of the best antiques. This school is to be absolutely free, will always be under the personal chartge of the best artists, and will work wonders for Chicago art.

One is impressed, in looking over this building, with the evidences of culture, elegance, and refinement, which the prosperous condition of the academy conveys. The whole building being under the control of the academy, it will always be known to be respectable in every way, and it will commend the support of the most intelligent and excellent society of the city. The academy requires about $10,000 to finish the building in the in the chaste and elegant manner which they propose. Nearly $5,000 of this sum have already been contributed, and we are confident that the academy will find no difficulty in securing the remainder. Pecuniary aid to the amount of $500 is requisite to obtain an honorary membership, $100 secures a fellowship, and $10 a yearly subscription—the latter only to be retained for a year or two. As the academy may rightly view an offer of membership in any one of these three grades an honor to the person to whom it is offered, no one of our citizens should hesitate a moment in accepting one or the other.

Sometime about the 1st of November the academy will give its opening reception, when the gallery will be fitted with pictures, not one of which has ever been exhibited in Chicago. The most prominent artists will be represented, Chicago society will be there, and the occasion will be a grand one.

Academy of Design

Chicago Tribune, November 22, 1870

The Academy of Design.—The pictures in the Academy of Design were hung yesterday, and the public exhibition will take place this evening. There will probably be a jam. The managers wish the public to understand that those who have purchased tickets to the academy are invited to the reception. Carriages are to enter Adams street from State, and go away through Dearborn.

Chicago Tribune, November 24, 1870

THE ACADEMY OF DESIGN EXHIBITION.—The exhibition of the Academy of Design, which inaugurated their new and handsome edifice, on Tuesday evening, was unmistakably a popular success. The collection of paintings was remarkably good, as far as it went, although one can hardly help regretting that such great artists as Inness, Gifford, McEntes, Eastman, Johnson, Durand, Page, Edwin White, Whittredge, Bellows, Moran, and others, were unrepresented. There were some pictures which were so unquestionably bad that we were surprised to see them upon the walls. There were other pictures, again, like Healy’s “Peace-makers,” and Pine’s group, painted upon huge canvases, which should not have been admitted, not because they are bad of themselves, but because it is inevitable that smaller pictures must suffer by the side of them. But, on the other hand, there were real works of true art, like the architectural paintings by Neal, the landscapes of James Hart, Gay, Kensett, Church, and Coleman; the portraits of by Le Clear and Huntington, and the De Haas marine, which were a credit to the exhibition, and afford an admirable field for study.

Tuesday night was the popular success. The fashion of the city did itself the pleasure, and the gallery the distinguished honor, to come to the reception, arrayed in its greatest robes, and pregnant with extempore high art criticism of a harmless order. Fashion rushed and crushed, examined itself in detail, and the pictures in general, and had its toilettes, from postillions to shoe-strings, aired by the female members of the Jenkins family. That is is all very well of corse. There is so much art criticism pent up in the community that it is well to have a vent for it now and then, and, if art must be the camel to carry fashion for one night, it is a pleasant burden which art can bear with patience.

But now comes the serious work for the Academy. There is danger that the managers may be a little dazzled by their show, and relax for their efforts. This fashionable visitation may be accepted as an artistic fact instead of a mere incident of dress. They should remember that the same people will rush in the same full dress, next week, to the Opera House reception, and then let that gallery severely alone, as they will this. The labor now remains to be done, and no ordinary responsibility rests upon the shoulders of the managers.

They have the materials and the opportunities to accomplish a great work in the community, if they set themselves about it aright, and we hope at the very outset that they will not make the fatal mistake of running against the Opera House Gallery. There is room here for both, and each, working in its own sphere, can secure valuable results. The Opera House Gallery must, of course, be devoted to exhibition only, and, in this respect, the pictures already received for the opening next week promise one of the greatest exhibitions we have ever had here. The Academy is a more practical institution, and must make itself felt in its schools and its lectures as well as in pictures. It has for one of its main objects the encouragement and improvement of our own artists and its efforts should be earnestly directed that way, as well as in the education of the people, for there is at present no popular standard of art here. The bad pictures found quite as many admirers on Tuesday evening as the good ones. If there is one thing more than another that we would impress upon the managers, it is to keep these bad pictures off the walls. Art is not to be judged by its extent. One good picture in the Academy is of more value than a hundred commonplace ones. Make the schools of value to every art-student. Make the lectures of a popular character, and work without regard to other galleries. There is no danger of too many galleries, if they are properly conducted. We cannot have too many good pictures here, or have them too public. So conduct the gallery that it shall commend itself to the people at large, remembering that the Academy is pre-eminently an educator. Do not rest contented with the mere incident of a fashionable crush. These crushes never do anything for art, as may be seen in the fate of the National Academy. Honest, earnest work is what is now wanted; and, if the managers conscientiously attend to that work, they will not have any time to devote to other galleries.

The Great Conflagration. Chicago: Its Past, Present and Future, by James W. Sheahan and George T. Upton, 1872

The managers of the Academy of Design were not so fortunate (as other galleries). The gallery was a large one, containing some two hundred and fifty or three hundred works by the best American artists.

Rothermers historical work, “The Battle of Gettysburg,” and some pictures by Bierstadt and the Harts were saved, but the greater number were lost, as the artists, many of whom had studios in the building, had no means of removing them. In addition to the paintings, the splendid collection of casts from the most celebrated antiques, which were in the antique school connected with the Academy, were also lost.

㉓ Academy of Fine Arts

Chicago Tribune, June 13, 1875

THE ACADEMY OF DESIGN.
Its History and Present Condition.
The Academy of Design has experienced some recent vicissitudes, but it stands, and no doubt will continue to stand, as the most conspicuous art-institution in the city. The near approach of the reception and exhibition, forms a fitting occasion for a review of the history of the organization and a statement ot its present condition. Somewhere along in the fall of 1868 a few Chicago artists met together in a little studio on Dearborn street and formed an association. The initiatory fee was $5, and the sessions were frequent and enthusiastic, It was not long before forty-five or fifty names were enrolled, and the very considerable amount of crackers and sandwiches, and good ale and cigars, consumed by those happy Bohemians, appeared to engender a corresponding amount of good feeling and fellowship. This was the nucleus of the Chicago Academy of Design. After the first enthusiasm had somewhat abated, a few of the most earnest spirits of the organization procured, in 1869, a charter from the Legislature, liberal and comprehensive in its terms, and granting some special privileges.

Mere social enjoyment was of course never the chief object of tho Academy. From the very beginning of the enterprise, while many brilliant exhibitions, entertainments and receptions were given for the public benefit, and many pleasant reunions held by the members among themselves, the first object was to establish and maintain genuine art schools.

To this end the artists interested in it labored, giving their time, money, pictures, and unceasing efforts, and from time to time, as occasion required, devising and managing in the interest of the schools and the Academy a series of art-entertainments so brilliant and successful as to do honor to the city. The achievements of this young but vigorous institution before the great fire were of a kind that any citizen of Chicago might well recall with pride. It would appear that for once a society of artists was endowed with executive ability and capable of harmonious management. Within three years from the time when it had but twenty members and $100 in its treasury the Academy was established in a handsome building, erected at a cost of $70,000 and containing ample galleries, schoolrooms, studios, offices, and reception rooms, and a fine little music-hall. It paid a rental for the four stories of the building thus occupied of $6,OOO per annum. It had fitted up the building at a cost of $15,000. For some time before the fire, the statements of the business manager showed that the average receipts of the gallery were over $25 a day, while the receipts from the rents of studios and the Music-Hall amounted to between $B,OOO and $9,000 a year, and the receipts from annual subscribers were over $5,000. Besides this there were other sources of income, from life and fellowship memberships, from commissions on sales, etc., and the total revenue was already at so handsome a figure and so rapidly increasing that the time was confidently thought to be near when the Academy would be able to purchase and own entirely the building and ground on which it stood. This rapid growth and speedy success was in the characteristic Chicago style, and it was all done by the artists themselves. Tho Chicago people, it is true, responded generously when called upon for yearly subscriptions. But the artists took pride in giving an equivalent, indeed an equivalent fourfold, for every dollar subscribed in this way, and the artists’ receptions of Chicago became worthy of any city in the land.

But—the fire burned, and all the studios and their treasures, the pictures and marbles and casts, made some costly little heaps of ashes, and the insurance was like other insurances. After that tho Academy had a struggle, like other people, and, like other people, it is having a struggle now. But it is busy again. The schools are in running order, and supplied with materials and competent instructors. A school of sculpture is in process of organization under the direction of the President of the Academy, Mr. Leonard W. Volk, Mr. Felix Begamey, an artist of reputation both in Europe and this country, and late a Professor in Paris, has charge of the schools of drawing, composition, and practical design, and also of free-hand drawing as applicable to the uses of architecture. In this latter branch of instruction, architecture, an exceedingly important work has been undertaken by Mr. W. L. B. Jenney, who has engaged to deliver frequent lectures and furnish counsel and practical guidance to the pupils making it a study. The schools of painting and composition are in charge of Mr. J. F. Gookius, whose methods of instruction are those of the French and Munich schools combined.

The authorities of the Academy, believing thoroughly in the recuperative power and-effective stimulus of continual work, have determined to keep the schools in full operation through the year, not even stopping for their usual vacation during the summer. This has become almost a necessity, to meet the wants of pupils who come hero from other places during the summer, but cannot come in winter, and there are also many of the sons and daughters of our citizens who are anxious to avail themselves of the drawing schools while other institutions are dosed for the summer. The classrooms are in the building at the southwest corner of Michigan avenue and Van Buren street. Valuable and appropriate prizes are given to pupils making genuine and creditable progress.

The late sale of pictures at the Academy was interfered with by exceedingly bad weather, by the Thomas concerts, but especially by the general dullness of the times. Still, though but few pictures were sold, they brought fair prices, all things considered, and the sale as far as it went was a success for the Academy, Propositions for building a fine building have lately been submitted to the officers of the Academy, and taken under advisement by them and by a number of prominent citizens who have the interests of art genuinely at heart. It is probable that something will result from the current interest in the subject that will do honor to Chicago and be of lasting benefit to the city and the country. A city of the first class like Chicago cannot long do without an Academy of Art, and experience has shown that it can be made more than self-sustaining under judicious management.

A good exhibition has been kept open continuously since tbe opening of tbe Academy last September, and the pictures have been changed frequently as new ones have come and gone.

An especial event is to occur st tho Academy Thursday. the 17th, in the form of one of the handsome, old-time receptions. It is intended to be made an agreeable affair, and the invitations will be very limited in number. Summer is here, and the artists, before their scattering to field, and forest, and shore, wish to say welcome and adieu to their friends in their own peculiar fashion. There will be not only many new pictures by our own artists, but a considerable exhibition of fine foreign works. The reception will be followed by an exhibition and sale.

Chicago Tribune, May 23, 1879

FINE ARTS.
Organizing the New Academy.
An adjourned meeting of prominent citizens interested in the establishment of an art school in this city met last evening at the Palmer House to hear the report of a committee appointed a week previous. Among others there were present Messrs. J. H. Dole, Marshall Field, H. N. Hibbard, W. H. Bradley, W. T. Baker, Dr. Dunham, Charles Hutchinson, M. F. Tuley, George E. Adams, Murry Nelson, E. W. Blatch-ford, G. E. Waters, George C. Clarke, D. W. Irwin, F. W. Peck, Charles G. Hamil, and W. M. R. French.

Mr. J. H. Dole was called to the chair, and Mr. French officiated as Secretary. At the conclusion of the formal services incident to the opening of the session, Mr. W. H. Bradley, the Chairman of the Committee on Organization, presented his report. He stated that serious consideration had been given to the advisability of sustaining the Academy of Design, which was recently sold out by the Sheriff for $250, leaving it in debt $3,000. The Committee were in favor of establishing a new society within the aim and scope of the to come within the statute relating statute to societies not organized for pecuniary profit. It had been suggested that an alliance might be formed with other educational institutions, but the Committee believed it was best for the Society to stand independent and alone. No steps were necessary to preserve the present art school. The easts and other property were bought in by a friend for $250, and the school was running along by virtue of its own inertia. The Committee would recommend that an early organization be effected, because the present changes i the school, if allowed to continue, will have a damaging influence.

The Committee recommended that the new organization be called the “Chicago Academy of Fine Arts,” and that it be governed by a board of fifteen Trustees, to be elected as the by-laws may provide, those for the first year to be: George Armour, L. Z. Leiter, J. H. Dole, S. M. Nickerson, W. T. Baker, Albert Hayden, Mark Skinner, George E. Adams, W. Blatenford, E. B. McCagg, N. K. Fairbank, E. S. Pike, George L. Dunlap, D. W. Irwin, and W. M. R French.

The Committee suggested a series of by-laws providing for the organization. They specify that the membership shall consist of three classes: corporate, honorary, and annual subscribers. The payment of $100 constitutes a corporate member, who shall have the right to vote for and be eligible to a Trusteeship. Honorary members shall consist of artists, patrons, and others who may render the Academy eminent services. The payment of $10 shall constitute an annual membership, bat without the right to vote for Trustees. The business of the Academy shall be intrusted to an Executive Committee of five, and in addition there shall be Committees on Instruction and Exhibition.

The report of the Committee was accepted, and on motion of Mr. Adams the number of Trustees was increased to twenty by the addition of Messrs., W. H. Bradley, John G. Shortall, H. N. Hibbard, Charles Hutchinson. and J. W. Doane.

After some talk as to the manner of filling out the application to the Secretary of State for a certificate of organization, the Chair was empowered to select five corporators, and he delegated Marshall Field, Mury Nelson, C. G. Hamill, F. W. Peck, and G. E. Adams to append their signatures, which they did with becoming alacrity.

The draft of the by-laws was referred to the Trustees, and there being nothing else to do the meeting adjourned.

Inter Ocean, December 12, 1879

THE CHICAGO ACADEMY OF DESIGN.
The first entertainment to be given by the Chicago Academy of Design, following the reception, will take place at Hershey Music Hall, on Saturday evening, the 13th inst., at 8 o’clock, to welcome M. Felix Regamy, the noted French artist (and member of the Chicago Academy of Design), who will present characteristic sketches in his masterly style. M. Regamy has recently traveled extensively in China. Japan, and Europe, and is commissioned by the French Government to prepare a series of articles on American art. The entertainment will partake of a social character—a reception to M. Regamy, His friends, members of the Academy, annual subscribers, artists, and musical people are invited to attend. Professor Clarence Eddy has kindly consented to assist in this entertainment by an overture on the organ, and to accompany Mrs. C. D. Stacy, the popular vocalist, who will also contribute to the enjoyment of the oocasion. No invitations will be issued, nor any admission fee be charged. It is hoped and expected that the lovers of art, literature, and music will be present to welcome M. Begamy in the style peculiar to Chicago.

Several persons thumped at the door at No, 103 State street last evening for admission to attend the meeting of the Academy of Design. The janitor made his appearance after a time, let in the shivering painters and pencil-shover, but informed them that no meeting was to be held there. The meeting was announced to take place, but evidently there was some mistake in some way.

Chicago Tribune, December 24, 1879

ACADEMY OF FINE ARTS.—The Students and Teachers of the Art School of the Chicago Academy of Fine Arts gave a view of their work on the last term to their friends yesterday at the Academy rooms in Pike’s Building.

History of “The Peace Makers.”

poster

The Peace Makers

Chicago Tribune, January 19, 1893

The large picture “The Peace Makers,” by G. P. A. Healy, burned in the Calumet club fire. It was presented by Mr. Healy to E. B. McCagg, and at at the time of the great fire in 1871, was in an art gallery near the site of the present Columbia Theater, as Mr. McCagg had no convenient place in his own home to for such a large a picture. It was saved from destruction at that time by cutting the canvas from the stretcher, and was rolled up and sent to St. Louis. It was afterwards returned to Mr. McCagg, and when Gen. Grant was given a reception upon his return from his trip around the world it was borrowed by the club for a reception to him and after that remained in its possession.

The subject showed President Lincoln, Gen. Grant, Gen. Sherman, and Admiral Porter in council in the cabin of an excursion boat on the JAmes River, where they met to consider then project of Sherman’s march to the sea.

The Mentor, February, 1922

poster

Recently there turned up in Chicago a rare Lincoln picture with a remarkable history. For fifty years this portrait study has lain unnoticed in a family storeroom. It is now a treasured possession of the Chicago Historical Society.

G. P. A. Healy, an artist well known in Civil War times as a painter of portraits and historical scenes, put on canvas a picture of Lincoln listening to General Sherman’s recital of his march, which, just the day before, had terminated at Goldsboro, N. C.

This is believed to be the last picture ever made of Lincoln. It shows him as he looked seventeen days before he was shot.

When Lincoln got the word that Sherman had completed his march to the sea, he left Washington post-haste, and met Sherman, Grant, and Admiral Porter on the River Queen, then anchored in the James River. In his “Memoirs,” Sherman mentions this meeting and refers to Lincoln’s boyish eagerness to hear the details of “our march.” “When I left him,” wrote Sherman, “I was more than ever impressed by his kindly nature, his deep sympathy with the afflictions of the whole people, resulting from the war. In the language of his second inaugural address, he seemed to have ‘charity for all, malice toward none,’ and, above all, an absolute faith in the courage, manliness, and integrity of the armies in the field.

“When listening, his face was care-worn and haggard; but the moment he began to talk his face lightened up, his tall form, as it were, unfolded, and he was the very impersonation of good humor and fellowship. The last words I recall were that he would feel better when I was back at Goldsboro. We parted about noon of March 28th, and I never saw him again. Of all the men I ever met, he seemed to possess more of the elements of greatness, combined with goodness, than any other.”

The pose of Lincoln inspired Healy’s 1869 portrait, Abraham Lincoln. Robert Todd Lincoln considered the likeness of his father in this painting to be the “most excellent in existence.”

The U.S. Postal Service commemorated the 200th anniversary of the birth of Abraham Lincoln by issuing four first-class commemorative 42-cent stamps. One of these stamps features an image of this painting.

The painting was purchased in 1947 by the U. S. Government.

The painting was displayed in the Treaty Room of the White House from the Kennedy through the George W. Bush presidencies. In his book Decision Points, President Bush mentions the painting specifically and makes the following comment:

Before 9/11, I saw the scene as a fascinating moment in history. After the attack, it took a deeper meaning. The painting reminded me of Lincoln’s clarity of purpose: he waged war for a necessary and noble cause.

It was briefly loaned to the George H. W. Bush Presidential Library from March 11, 2002 to July 31, 2002 for an exhibit entitled, “Fathers and Sons: Two Families, Four Presidents.” The painting is also featured behind the elder Bush in his official presidential portrait, painted by Herbert Abrams.

The Obama administration moved the painting to the private President’s Dining Room, where it currently hangs. There is also a copy of the painting at the Pentagon.

History of “The Peace Makers.”

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