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and it was scarcely advertised. It was not hailed by critics either, with one calling the work "oppressive". The success of the painting was largely due to Ryder's marketing of the chromolithographs, sold first at five dollars a piece and for less as the exhibition progressed. After the exhibition, the painting garnered enough popularity to tour across the country to large crowds.
145:. The first of the two features three children being carted by a dog chasing a rabbit, while in the second, the children and their cart have crashed due to their reckless pursuit. These paintings, among earlier sketches, forged a relationship between him and photographer James F. Ryder. Ryder made much of his money in
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in 1876. Common myths claim that people were so inspired by it that
Willard was invited to show his painting and that even then president Grant gave his praise. Unfortunately, it did not have such an initial popularity. It was placed in the Art Annex to make room for a large number of applications
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Willard developed the painting from a sketch, which included three men dancing and singing. He used his father, Samuel
Willard, as the model for the middle character of the painting. Hugh Mosher was the model for the fifer. The boy was Henry Devereaux. Including his father in the painting was
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449:. Billy is thus described: "Billy was carrying his little coat as though it were a lady's muff. It was wrapped around and around his hands. He was the central clown in an unconscious travesty of that famous oil painting,
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something that set the painting apart from his usual, humorous style, since
Willard felt sentimental toward his father's work as a minister and his grandfather's role in the Revolutionary War.
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and began working for wagon maker E.S. Tripp. He began as a basic wagon painter, but eventually was allowed to paint elaborate decorations that were popular at the time. Willard joined the
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and his folksy retellings of U.S. history. They were hardly recognized and did not make him as much money. His prominence as an artist would only return briefly in 1895 when
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417:, the track "Yankee Doodle Go Home (Spirit of '76)" features the "hip" fife player and younger drummer objecting to the "square" playing of the older drummer.
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about 1875 in
Wellington, Ohio after he saw a holiday parade pass through the town square. Willard also painted three murals in the main hall of the
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Willard had an interest in art ever since he was a child and often scribbled on barns and other structures at home. As a young man, Willard moved to
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camp. They wake up the camp in the morning by playing of "Yankee Doodle" and are dressed similarly to the characters in the painting.
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he saw himself as an elevated artist, despite the minimal critical acclaim. His later works were characterized as returns to
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at the
Greenwood Cemetery. He is commemorated by a Willard Avenue in his birthplace of Bedford and a Willard Drive in nearby
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and possibly another work by
Willard's involving the same subjects marching into Havana were being advertised for the
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substituted for the soldiers. The art was adapted by Disney in 1975 as part of the logo for
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featured a live-action recreation of the painting at both the beginning and the end credits.
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134:, but was not heavily involved. During this time, he painted several scenes from the war.
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Correct Image: The original 1875 painting shows a white banner just above the U.S. flag.
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584:"In Search of 'The Spirit of '76'" Recycling the Past: Popular Uses of American History
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After the war, Willard created a pair of paintings for Tripp's daughter, Addie, called
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Stan
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516:"FOXNews.com - Ohio Town Develops Own 'Scent-Sibility' - Celebrity Gossip"
119:. He was the son of Samuel Willard, the pastor of Bedford Baptist Church.
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61 cm Ă— 45 cm (24 in Ă— 18 in)
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385:. It was the basis for the design of the opening float in the parade.
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Fireworks, Picnics, and Flags: The Story of the 4th of July
Symbols
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Cemeteries of
Northeast Ohio: Stones, Symbols & Stories
319:, and others not as recognized. After the exhibition of
111:(August 22, 1836 – October 11, 1918) was an American
586:. University of Pennsylvania Press. pp. 29–49.
315:He also made several other works of art, including
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582:Pauly, Thomas H. (1978). Zenderland, Leila (ed.).
554:. Charleston, SC: Arcadia Publishing. p. 50.
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645:. Cleveland, OH: Gray & Company, Publishers.
493:used the painting for the cover of their 1996 LP
766:"American Bicentennial Issue: The Spirit of '76"
551:Images of America: Bedford and Bedford Township
728:Norwalk Reflector, Norwalk, Ohio, July 2, 1975
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621:. New York: Clarion Books. pp. 41–43.
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359:featured a parody of the painting with
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615:Arndt, Ursula; Giblin, James (2001).
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353:The cover of the July 1939 issue of
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910:20th-century American male artists
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695:. Marblehead Historical Commission
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306:United States Department of State
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900:20th-century American painters
885:19th-century American painters
827:Ohio Historical Society Online
420:In the 1963 World War II film
268:Willard's most famous work is
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744:. Random House. p. 183.
339:Representation in other media
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803:United States Postal Service
741:Slaughterhouse-Five: A Novel
388:The final scene of the 1950
162:Washington Court House, Ohio
128:86th Ohio Infantry Regiment
115:who was born and raised in
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689:"Spirit of '76 Painting"
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456:On 1 January 1976, the
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522:. November 26, 2006.
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400:, starring
365:Donald Duck
143:Pluck No. 2
844:Categories
673:October 6,
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402:Bugs Bunny
379:Disneyland
298:Abbot Hall
257:Abbot Hall
245:Dimensions
50:1836-08-22
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485:New York
478:, titled
473:se-tenant
132:Civil War
699:July 10,
524:Archived
520:Fox News
487:hardcore
470:triptych
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139:Pluck
102:1875)
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
