1875
chalk
24 1/2 x 18 in.
Smithsonian American Art Museum, Museum purchase through the Robert Tyler Davis Memorial FundDewing expressed his admiration for Whitman by idealizing his image. He gave the poet's full beard a silky quality, and he reduced the wrinkles of his face and eyelids to create a monumental and eternal presence. By 1875, Whitman had suffered a paralytic stroke, and his health was in decline, but his reputation as one of America's greatest living poets had been firmly established.24 1/2 x 18 in.
Spring
1890
http://americanart.si.edu/collections/search/artwork/?id=6777
oil
20 1/2 x 34 5/8 in.
Smithsonian American Art Museum, Gift of John Gellatly
Set against the backdrop of Mount Ascutney in New Hampshire, Thomas Wilmer Dewing's Spring maintains a delicate balance between setting and figure. The distant line of dancing women is likely derived from the Virginia reel, a popular dance at the artists' colony in which he lived.
Summer
about 1890
oil on canvas
42 1/8 x 54 1/4 in. (107.0 x 137.8 cm.)
Smithsonian American Art Museum, Gift of William T. Evans
1909.7.21
“. . . like Dewing’s art, [his models] help to improve our taste and manners, render our costumes and surroundings more picturesque, and our life softer and more agreeable, in one word more beautiful.” Sadakichi Hartmann, “Thomas Wilmer Dewing,” Art Critic I, January 1894
Thomas Wilmer Dewing’s paintings of elegant women evoked an exclusive world of beauty and refined taste. From 1885 until 1905, Dewing was a key figure in the artist colony at Cornish, New Hampshire, which included Augustus Saint-Gaudens and Abbott Thayer. They agreed that art and beauty offered a “higher life” for an age in which Darwin’s theories challenged Christian beliefs and urban industrialization disrupted life’s natural rhythms.Summer shows women in evening gowns theatrically posed in nature and conveys the “Cornishite’s” attitude that life should be a chain of beautiful moments. Every summer, Dewing orchestrated twilight picnics and participated in theatrical performances with fellow artists and writers in the woods of Cornish. (Pyne, Art and the Higher Life: Painting and Evolutionary Thought in Nineteenth-century America, 1996)
The Hermit Thrush
1890
http://americanart.si.edu/collections/search/artwork/?id=6763
oil
34 3/4 x 46 1/8 in.
Smithsonian American Art Museum, Gift of John Gellatly
Thomas Wilmer Dewing, an amateur ornithologist, used the sinuous curve of the old pine tree to suggest the song of the hermit thrush, a favorite bird of Cornish, New Hampshire, where he often summered. The two women stand knee-deep in grass, listening to the sounds in the trees, their arms positioned like the wings of a bird
Portrait of Frances C. Houston
about 1880-89
http://americanart.si.edu/luce/object.cfm?key=338&artistmedia=0&subkey=1823oil on canvas
19 5/8 x 14 1/4 in. (49.7 x 36.1 cm.)
Smithsonian American Art Museum, Gift of John Gellatly
1929.6.33
Podcast
http://americanart.si.edu/luce/media.cfm?key=372&artistmedia=0&object=1823&subkey=1128
Thomas Wilmer Dewing painted his vivacious friend in a seventeenth-century costume in the spirit of Frans Hals or Diego Velázquez, two of their favorite old masters. He wrote to the editor of Century Magazine, praising Houston's "sense of style." Dewing and Frances had studied in Paris, where both artists would have made head studies like this one. After she returned to the United States, Frances married William C. Houston, the proprietor of a Boston department store. The couple purchased property near the Dewings' summer home in Cornish, New Hampshire, where they joined in the social activities of a vibrant art colony. Houston worked in Cornish as a portrait painter and jeweler, but was also known for her impressive cooking and gardening. (Hobbs, Beauty Reconfigured: The Art of Thomas Wilmer Dewing, 1996)
Lady in White
about 1895
http://americanart.si.edu/exhibitions/online/highlights/artworks.cfm?id=GM&StartRow=23
pastel
14 1/2 x 11 1/4 in.
Smithsonian American Art Museum, Gift of Howard Page Cross
Thomas Dewing's Lady in White is a patrician feminine type, her body slender, delicate, and refined. Her chaste beauty and intelligent face emphasize her intellectual and spiritual traits with no hint of sensual or emotional qualities. Placed in a relatively empty interior, she is an aesthetic object to be admired and contemplated as she maintains an emotional distance from the viewer. Dewing's ideal woman preserved the values of America's upper-middle class society during the Gilded Age, a period that experienced increased immigration from southern and eastern Europe as well as the pressures of modern life.
Portrait of a Lady
about 1895
http://americanart.si.edu/collections/search/artwork/?id=6773
http://americanart.si.edu/luce/object.cfm?key=338&artistmedia=0&subkey=1825
42 1/8 x 54 1/4 in. (107.0 x 137.8 cm.)
Smithsonian American Art Museum, Gift of William T. Evans
1909.7.21
“. . . like Dewing’s art, [his models] help to improve our taste and manners, render our costumes and surroundings more picturesque, and our life softer and more agreeable, in one word more beautiful.” Sadakichi Hartmann, “Thomas Wilmer Dewing,” Art Critic I, January 1894
Thomas Wilmer Dewing’s paintings of elegant women evoked an exclusive world of beauty and refined taste. From 1885 until 1905, Dewing was a key figure in the artist colony at Cornish, New Hampshire, which included Augustus Saint-Gaudens and Abbott Thayer. They agreed that art and beauty offered a “higher life” for an age in which Darwin’s theories challenged Christian beliefs and urban industrialization disrupted life’s natural rhythms.Summer shows women in evening gowns theatrically posed in nature and conveys the “Cornishite’s” attitude that life should be a chain of beautiful moments. Every summer, Dewing orchestrated twilight picnics and participated in theatrical performances with fellow artists and writers in the woods of Cornish. (Pyne, Art and the Higher Life: Painting and Evolutionary Thought in Nineteenth-century America, 1996)
The Hermit Thrush
1890
http://americanart.si.edu/collections/search/artwork/?id=6763
oil
34 3/4 x 46 1/8 in.
Smithsonian American Art Museum, Gift of John Gellatly
Thomas Wilmer Dewing, an amateur ornithologist, used the sinuous curve of the old pine tree to suggest the song of the hermit thrush, a favorite bird of Cornish, New Hampshire, where he often summered. The two women stand knee-deep in grass, listening to the sounds in the trees, their arms positioned like the wings of a bird
Portrait of Frances C. Houston
about 1880-89
http://americanart.si.edu/luce/object.cfm?key=338&artistmedia=0&subkey=1823oil on canvas
19 5/8 x 14 1/4 in. (49.7 x 36.1 cm.)
Smithsonian American Art Museum, Gift of John Gellatly
1929.6.33
Podcast
http://americanart.si.edu/luce/media.cfm?key=372&artistmedia=0&object=1823&subkey=1128
Thomas Wilmer Dewing painted his vivacious friend in a seventeenth-century costume in the spirit of Frans Hals or Diego Velázquez, two of their favorite old masters. He wrote to the editor of Century Magazine, praising Houston's "sense of style." Dewing and Frances had studied in Paris, where both artists would have made head studies like this one. After she returned to the United States, Frances married William C. Houston, the proprietor of a Boston department store. The couple purchased property near the Dewings' summer home in Cornish, New Hampshire, where they joined in the social activities of a vibrant art colony. Houston worked in Cornish as a portrait painter and jeweler, but was also known for her impressive cooking and gardening. (Hobbs, Beauty Reconfigured: The Art of Thomas Wilmer Dewing, 1996)
Lady in White
about 1895
http://americanart.si.edu/exhibitions/online/highlights/artworks.cfm?id=GM&StartRow=23
pastel
14 1/2 x 11 1/4 in.
Smithsonian American Art Museum, Gift of Howard Page Cross
Thomas Dewing's Lady in White is a patrician feminine type, her body slender, delicate, and refined. Her chaste beauty and intelligent face emphasize her intellectual and spiritual traits with no hint of sensual or emotional qualities. Placed in a relatively empty interior, she is an aesthetic object to be admired and contemplated as she maintains an emotional distance from the viewer. Dewing's ideal woman preserved the values of America's upper-middle class society during the Gilded Age, a period that experienced increased immigration from southern and eastern Europe as well as the pressures of modern life.
Portrait of a Lady
about 1895
http://americanart.si.edu/collections/search/artwork/?id=6773
http://americanart.si.edu/luce/object.cfm?key=338&artistmedia=0&subkey=1825
oil on canvas
24 x 20 in. (60.9 x 50.8 cm)
Smithsonian American Art Museum, Gift of John Gellatly
1929.6.34
Podcast:
http://americanart.si.edu/luce/media.cfm?key=372&artistmedia=0&object=1825&subkey=1373
Mollie Chatfield came to be known as a classic “Dewing girl,” a type described in a Boston paper as “intellectual enough to be worthy of Boston, aristocratic enough to be worthy of Philadelphia, well dressed enough to be a New Yorker but seldom pretty enough to evoke the thought of Baltimore.” Thomas Wilmer Dewing showed her with a flirtatious sideward glance, lips slightly parted, and one hand resting self-consciously over her breast. This provocative pose hints at the romantic relationship between artist and model. Dewing’s patron Charles Lang Freer helped the artist keep his affair with Chatfield hidden from his wife, Maria Oakey Dewing. (Hobbs, Beauty Reconfigured: The Art of Thomas Wilmer Dewing, 1996)
Young Girl Seated
1896
http://americanart.si.edu/luce/object.cfm?key=338&artistmedia=0&subkey=159476
24 x 20 in. (60.9 x 50.8 cm)
Smithsonian American Art Museum, Gift of John Gellatly
1929.6.34
Podcast:
http://americanart.si.edu/luce/media.cfm?key=372&artistmedia=0&object=1825&subkey=1373
Mollie Chatfield came to be known as a classic “Dewing girl,” a type described in a Boston paper as “intellectual enough to be worthy of Boston, aristocratic enough to be worthy of Philadelphia, well dressed enough to be a New Yorker but seldom pretty enough to evoke the thought of Baltimore.” Thomas Wilmer Dewing showed her with a flirtatious sideward glance, lips slightly parted, and one hand resting self-consciously over her breast. This provocative pose hints at the romantic relationship between artist and model. Dewing’s patron Charles Lang Freer helped the artist keep his affair with Chatfield hidden from his wife, Maria Oakey Dewing. (Hobbs, Beauty Reconfigured: The Art of Thomas Wilmer Dewing, 1996)
Young Girl Seated
1896
http://americanart.si.edu/luce/object.cfm?key=338&artistmedia=0&subkey=159476
oil on canvas
20 1/8 x 16 1/8 in. (51.1 x 40.9 cm)
Smithsonian American Art Museum, Gift of John Gellatly
1929.6.42
Thomas Wilmer Dewing painted many images of young, elegant women who gaze away from the viewer as if lost in thought. The delicate brushstrokes in this painting emphasize the soft, gauzy material of the girl’s dress, and her skin appears pale against the dark background, creating a sense of fragility and tenderness. Dewing was surrounded by strong women—his wife was an artist and suffragist and his daughter was “headstrong”—and his idyllic images of ladies at leisure suggest that he was responding to the changing role of women at the turn of the twentieth century. (Hobbs, Beauty Reconfigured, 1996)
A Reading
20 1/8 x 16 1/8 in. (51.1 x 40.9 cm)
Smithsonian American Art Museum, Gift of John Gellatly
1929.6.42
Thomas Wilmer Dewing painted many images of young, elegant women who gaze away from the viewer as if lost in thought. The delicate brushstrokes in this painting emphasize the soft, gauzy material of the girl’s dress, and her skin appears pale against the dark background, creating a sense of fragility and tenderness. Dewing was surrounded by strong women—his wife was an artist and suffragist and his daughter was “headstrong”—and his idyllic images of ladies at leisure suggest that he was responding to the changing role of women at the turn of the twentieth century. (Hobbs, Beauty Reconfigured, 1996)
A Reading
1897
http://americanart.si.edu/collections/search/artwork/?id=6774
oil
20 1/4 x 30 1/4 in.
Smithsonian American Art Museum, Bequest of Henry Ward Ranger through the National Academy of Design
Dressed up with nowhere to go, these languorous women exist in a realm that the artist described as a place “where a few choice spirits live.” Absorbed in self-reflection, they are as delicate and refined as the Chinese celadon vase on the gleaming table top. Dewing frequently referred to his paintings as “decorations” and enhanced them with frames designed by the architect Stanford White, like the example created for this painting.
In the Garden
1892–94
http://americanart.si.edu/collections/search/artwork/?id=6765
oil
20 5/8 x 35 in.
Smithsonian American Art Museum, Gift of John Gellatly
Thomas Dewing's composition, which alludes to the theme of the Three Graces popular during the Italian Renaissance, creates a comforting sense of continuity with the past at a time of great change in America. His images of ethereal women posed in spare interiors or soothing landscapes were seen by some to provide a refuge from the clamor of modern cities. The ornate gilded frame was designed by his close friend, the architect Stanford White, and contributes to the work's decorative quality.
Music
about 1895
http://americanart.si.edu/collections/search/artwork/?id=6771
oil
42 1/2 x 36 in.
Smithsonian American Art Museum, Gift of John Gellatly
A trance-like solitude surrounds these two women, posed like muses in a setting suggestive of an arbor or classical ruin. In the late nineteenth century, music and painting were often linked as meditative experiences, and many of Dewing's works feature women sharing the companionship afforded by the liberal and fine arts, whether reading, playing music, or painting.
Alma
http://americanart.si.edu/collections/search/artwork/?id=6774
oil
20 1/4 x 30 1/4 in.
Smithsonian American Art Museum, Bequest of Henry Ward Ranger through the National Academy of Design
Dressed up with nowhere to go, these languorous women exist in a realm that the artist described as a place “where a few choice spirits live.” Absorbed in self-reflection, they are as delicate and refined as the Chinese celadon vase on the gleaming table top. Dewing frequently referred to his paintings as “decorations” and enhanced them with frames designed by the architect Stanford White, like the example created for this painting.
In the Garden
1892–94
http://americanart.si.edu/collections/search/artwork/?id=6765
oil
20 5/8 x 35 in.
Smithsonian American Art Museum, Gift of John Gellatly
Thomas Dewing's composition, which alludes to the theme of the Three Graces popular during the Italian Renaissance, creates a comforting sense of continuity with the past at a time of great change in America. His images of ethereal women posed in spare interiors or soothing landscapes were seen by some to provide a refuge from the clamor of modern cities. The ornate gilded frame was designed by his close friend, the architect Stanford White, and contributes to the work's decorative quality.
Music
about 1895
http://americanart.si.edu/collections/search/artwork/?id=6771
oil
42 1/2 x 36 in.
Smithsonian American Art Museum, Gift of John Gellatly
A trance-like solitude surrounds these two women, posed like muses in a setting suggestive of an arbor or classical ruin. In the late nineteenth century, music and painting were often linked as meditative experiences, and many of Dewing's works feature women sharing the companionship afforded by the liberal and fine arts, whether reading, playing music, or painting.
Alma
about 1895-1900
http://americanart.si.edu/luce/object.cfm?key=338&artistmedia=0&subkey=70
http://americanart.si.edu/collections/search/artwork/?id=6780
oil on canvas
20 x 15 5/8 in. (50.7 x 39.6 cm.)
Smithsonian American Art Museum, Gift of John Gellatly
1929.6.35
Thomas Wilmer Dewing fancied intellectual, witty women and once wrote that all he ever required of his models was that they have “brains”; his wife, Maria, believed his favorite types of women possessed a “delicacy of form” that amplified their spirituality and intellect. Alma Allen was one such model, and in this portrait Dewing emphasized these traits by focusing on her long neck and pensive expression, rather than the curves of her body or the texture of her dress. (Pyne, Art and the Higher Life: Painting and Evolutionary Thought in Nineteenth-century America, 1996)
Lady in White (No. 1)
1917
http://americanart.si.edu/collections/search/artwork/?id=6767
oil
26 1/2 x 20 1/2 in.
Smithsonian American Art Museum, Gift of John Gellatly
A slender, elegant woman sits in a chair, eyes half-closed in a moment of silent reverie. The interior is bare and the mirror reflects nothing, giving us little clue to the woman's thoughts. Dewing often portrayed such refined women at leisure as the Victorian ideal of femininity.
In this painting, Thomas Wilmer Dewing so simplified the space that it appears to exist outside of time. He painted Lady in White (No. 1) in the same year that the United States entered World War I, and works such as this provided Dewing's patrons with an antidote to the turmoil of the times. A contemporary critic remarked that Dewing's women are never eager or anxious, their nerves not toiling and spinning, but in equilibrium (Ross, "Rest for the Weary: American Nervousness and the Aesthetics of Repose," in Ross, Women on the Verge, 2004)
Lady in White (No. 2)
about 1910
http://americanart.si.edu/collections/search/artwork/?id=6768
oil
22 3/8 x 21 3/8 in.
Smithsonian American Art Museum, Gift of John Gellatly
Singularly self-contained, Dewing's model is perfectly in keeping with the elegance of the antique Louis XV chair, which had been handed down in his wife's family. Rich earth tones playing over the sitter's dress are reminiscent of glazes on the Asian ceramics that Dewing collected.
http://historywired.si.edu/detail.cfm?ID=155
Decoration of the White House Piano
Artist Thomas W. Dewing, a member of The Ten, a group of 10 American painters who exhibited together from 1898 to about 1920, continued the national theme when Steinway asked him to oversee the gilding and decoration of the underside of the lid. Although nominally entitling his subject "America Receiving the Nine Muses," Dewing avoided the classical allegories popular with artists of the day. Instead, he decorated the underside of the lid with an arrangement of dancing figures, whose colonial revival gowns also strike a patriotic chord. Dewing's wife, the noted still-life and portrait painter, Maria Oakey Dewing, painted the tendrils of foliage that encircle the case.
(...) an imposing gilded Steinway from Teddy Roosevelt's White House. The president's goal was to "initiate a more active musical life at the White House," and he commissioned Steinway to produce the piano. Decked out in symbols of Americana from eagles to garlands to the coats of arms of the first thirteen states, the piano was presented to Roosevelt in 1903. Dewing painted the piano's lid, merging the classical theme of the muses with America as the new standard bearer of Western culture. In the scene they pay homage to a seated figure, who represents the spirit of the country.
http://eyelevel.si.edu/2010/06/seeing-things-6-music-for-our-eyes.html
http://americanart.si.edu/luce/object.cfm?key=338&artistmedia=0&subkey=70
http://americanart.si.edu/collections/search/artwork/?id=6780
oil on canvas
20 x 15 5/8 in. (50.7 x 39.6 cm.)
Smithsonian American Art Museum, Gift of John Gellatly
1929.6.35
Thomas Wilmer Dewing fancied intellectual, witty women and once wrote that all he ever required of his models was that they have “brains”; his wife, Maria, believed his favorite types of women possessed a “delicacy of form” that amplified their spirituality and intellect. Alma Allen was one such model, and in this portrait Dewing emphasized these traits by focusing on her long neck and pensive expression, rather than the curves of her body or the texture of her dress. (Pyne, Art and the Higher Life: Painting and Evolutionary Thought in Nineteenth-century America, 1996)
Lady in White (No. 1)
1917
http://americanart.si.edu/collections/search/artwork/?id=6767
oil
26 1/2 x 20 1/2 in.
Smithsonian American Art Museum, Gift of John Gellatly
A slender, elegant woman sits in a chair, eyes half-closed in a moment of silent reverie. The interior is bare and the mirror reflects nothing, giving us little clue to the woman's thoughts. Dewing often portrayed such refined women at leisure as the Victorian ideal of femininity.
In this painting, Thomas Wilmer Dewing so simplified the space that it appears to exist outside of time. He painted Lady in White (No. 1) in the same year that the United States entered World War I, and works such as this provided Dewing's patrons with an antidote to the turmoil of the times. A contemporary critic remarked that Dewing's women are never eager or anxious, their nerves not toiling and spinning, but in equilibrium (Ross, "Rest for the Weary: American Nervousness and the Aesthetics of Repose," in Ross, Women on the Verge, 2004)
Lady in White (No. 2)
about 1910
http://americanart.si.edu/collections/search/artwork/?id=6768
oil
22 3/8 x 21 3/8 in.
Smithsonian American Art Museum, Gift of John Gellatly
Singularly self-contained, Dewing's model is perfectly in keeping with the elegance of the antique Louis XV chair, which had been handed down in his wife's family. Rich earth tones playing over the sitter's dress are reminiscent of glazes on the Asian ceramics that Dewing collected.
http://historywired.si.edu/detail.cfm?ID=155
Decoration of the White House Piano
Artist Thomas W. Dewing, a member of The Ten, a group of 10 American painters who exhibited together from 1898 to about 1920, continued the national theme when Steinway asked him to oversee the gilding and decoration of the underside of the lid. Although nominally entitling his subject "America Receiving the Nine Muses," Dewing avoided the classical allegories popular with artists of the day. Instead, he decorated the underside of the lid with an arrangement of dancing figures, whose colonial revival gowns also strike a patriotic chord. Dewing's wife, the noted still-life and portrait painter, Maria Oakey Dewing, painted the tendrils of foliage that encircle the case.
(...) an imposing gilded Steinway from Teddy Roosevelt's White House. The president's goal was to "initiate a more active musical life at the White House," and he commissioned Steinway to produce the piano. Decked out in symbols of Americana from eagles to garlands to the coats of arms of the first thirteen states, the piano was presented to Roosevelt in 1903. Dewing painted the piano's lid, merging the classical theme of the muses with America as the new standard bearer of Western culture. In the scene they pay homage to a seated figure, who represents the spirit of the country.
http://eyelevel.si.edu/2010/06/seeing-things-6-music-for-our-eyes.html
Henry Engelhard Steinway
Born in 1797 in Wolfshagen, Germany, Heinrich Engelhardt Steinweg fought--on the winning side--at the Battle of Waterloo in 1815. Music soothes the savage beast, however, and 20 years later he was running a piano business in the duchy of Brunswick. In 1849 he immigrated to New York with three sons. There, as Henry Engelhard Steinway, he opened a shop in 1853. The firm remained under family ownership until 1972.
Theodore Roosevelt, Twenty-sixth President, 1901-1909
When McKinley was shot, Theodore Roosevelt became the youngest ever president of the United States, at the age of forty-two. A popular war hero from the Spanish-American War in which he led the famous Rough Rider Regiment on the charge up Cuba's San Juan Hill, Roosevelt had a reputation for courage, boundless energy, and idealism, which he amply demonstrated as president. Despite his wealthy origins, Roosevelt felt that it was his duty to protect American workers from the power of wealthy business interests. When Pennsylvania coal miners went on strike for higher wages in 1902, Roosevelt supported the workers and threatened to close down the mines unless the owners agreed to negotiate; he brought both sides to Washington, where the miners won many of their demands. A strong believer in racial equality, Roosevelt was the first president to dine with an African American in the White House. His guest was Booker T. Washington, renowned educator and principal of the Tuskegee Institute in Alabama.
Roosevelt was unanimously elected to a second term, during which he continued to support workers and average Americans by crusading as a "Trust Buster," against the unfair price-setting practices of big business. He went after railroad corruption with the Elkins Act, endorsed the Pure Food and Drug Act, and encouraged the vigorous lifestyle he and his large family so enjoyed by doubling the number of national parks and adding 150 million acres to the nation's forest reserve. Although Roosevelt was fond of hunting wild game, his refusal to shoot a captured bear cub on a hunting trip in Mississippi inspired the stuffed toy known today as the teddy bear. Roosevelt's mediation of the Russo-Japanese War won him a 1906 Nobel Peace Prize
Theodore Roosevelt, Twenty-sixth President, 1901-1909
When McKinley was shot, Theodore Roosevelt became the youngest ever president of the United States, at the age of forty-two. A popular war hero from the Spanish-American War in which he led the famous Rough Rider Regiment on the charge up Cuba's San Juan Hill, Roosevelt had a reputation for courage, boundless energy, and idealism, which he amply demonstrated as president. Despite his wealthy origins, Roosevelt felt that it was his duty to protect American workers from the power of wealthy business interests. When Pennsylvania coal miners went on strike for higher wages in 1902, Roosevelt supported the workers and threatened to close down the mines unless the owners agreed to negotiate; he brought both sides to Washington, where the miners won many of their demands. A strong believer in racial equality, Roosevelt was the first president to dine with an African American in the White House. His guest was Booker T. Washington, renowned educator and principal of the Tuskegee Institute in Alabama.
Roosevelt was unanimously elected to a second term, during which he continued to support workers and average Americans by crusading as a "Trust Buster," against the unfair price-setting practices of big business. He went after railroad corruption with the Elkins Act, endorsed the Pure Food and Drug Act, and encouraged the vigorous lifestyle he and his large family so enjoyed by doubling the number of national parks and adding 150 million acres to the nation's forest reserve. Although Roosevelt was fond of hunting wild game, his refusal to shoot a captured bear cub on a hunting trip in Mississippi inspired the stuffed toy known today as the teddy bear. Roosevelt's mediation of the Russo-Japanese War won him a 1906 Nobel Peace Prize
There is a date conflict for Lady in WHite 1 and 2. #1 is presented both in 1910 and 1917, but it states that it was painted when the US entered WW1, so I chose 1917. Subsequently, Lady in White 2 should be post 1917.
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