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the projects and the difficulty of working with surviving loved ones. For certain portraits, such as
Jedediah Williamson in 1837, Mount would be called to the scene of his subject's death or wake, to take detailed sketches and notes for his paintings. While Jedediah was tragically run-over by a loaded wagon, the final project created by Mount leaves out the gruesome manner of his death, allowing his family to remembering him without being reminded of how he died. Through the art of posthumous portraits, the dead could be restored to their relatives eternally preserved.
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438:. He attended several spiritual conferences, participated in séances and table knockings, met some of the leading figures of the movement, and attempted to contact many spirits on his own. In his writings, Mount claims to have been in contact with his uncle Micah Hawkins, who answered questions about his deceased mother, brother Henry, and other relatives. Mount's journal, dubbed the Spirit Journal (now in the collection of the
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155:. His Uncle Micah was an established composer, playwright, mimic, and poet who played the piano, flute, and violin, who helped inspire Mount's passion for music. Mount returned to his grandfather's farm in 1815, where he stayed until moving back to New York City to work as an apprentice in his older brother Henry's sign and ornamental painting business where he cultivated his artistic skills.
199:, of which Thompson was a founding member. Mount enrolled in drawing classes and continued to excel in his artistic skills until he returned to Stony Brook several years later; works Mount exhibited at the Academy were met with great appreciation and high regard helping inspire him to keep painting and creating.
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Not only was Mount's love of music and dance represented in his paintings, but also was evident in his other preoccupations. Coming from a family of musically talented individuals, Mount grew up surrounded by music. Beyond providing subject matter, music gave Mount another outlet that he pursued as a
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mourning portraits, or portraits done after death. The subjects of these paintings are often depicted “alive” with symbols/settings representing death being incorporated which often included flowers and/or bodies of water. In general, Mount did not enjoy these commissions, due to the morbid nature of
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affordably. Mount patented a hollow-backed violin, which he named the “Cradle of
Harmony” in 1852. Mount experimented with various violin shapes and modifications for the rest of his life, with four different versions existing today. He displayed the instruments publicly and demonstrated one at the
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which unlike his early historical paintings centered on death, typically focused on daily experiences that viewers could identify with. Mount was one of the first artists to specialize in the
American rural social scene; before his time their existed a certain feeling among artists that the daily
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Mount's first subjects were himself, having painted his first self-portrait in the spring of 1828, and his close family members including his brother Henry, sister Ruth Mount
Seabury, and nephew Charles Edward Seabury. He painted his first commissioned portrait later that year. Mount wrote in his
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Mount's fiddle performances for country dances convinced him there was a need for a violin that would project its sound loudly enough to be heard over the noise of the crowd. He also aimed to design a violin that had fewer parts than normal so that it could be manufactured more efficiently and
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to parents Julia Ann
Hawkins (1782–1841) and Thomas Shephard Mount (1778–1814). Mount's parents operated a farm, as well as a store and tavern that bordered the village green in Setauket. Thomas and Julia had eight children. Five survived childbirth: Henry Smith Mount (1802–1841),
243:. The council could not believe an artist of his age and lack of formal training could produce such a profound work. Although the originality of the painting was questioned, the conception of the piece was entirely Mount's own. Despite Mount's success with
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fiddler, a fife player, a collector of folk songs, and a violin designer. Mount performed at dances and in concerts and avidly collected hundreds of tunes which he would then share with musically inclined family and friends. Some of which were by
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At around seven months old, Mount was believed to be close to death when a home nurse noticed his health was failing. His aunt, who came to make funeral arrangements, saw signs of life still in Mount and restored him back to health.
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autobiography “I found that portraits improved my colouring, and for pleasurable practice in that department I retired into the country to paint the mugs of Long Island
Yeomanry.” Also that year, William and his brother,
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decided to open a portrait studio at 15 Cherry Street in New York City. Sadly, business was poor and they closed the studio in 1829. But Mount's portrait work continued for the remainder of his career and life.
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exhibition in City Hall Park in 1825, an event that had a profound impact on him. This first exhibition introduced Mount to prominent seventeenth- and eighteenth-century
European artists, like well-known artist
110:(November 26, 1807 – November 19, 1868) was a 19th-century American genre painter. Born in Setauket, New York in 1807, Mount spent much of his life in his hometown and the adjacent village of
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The Mount
Brothers: A Loan Exhibition of Paintings: Sketches, Manuscripts, Memorabilia: Henry Smith Mount, Shepard Alonzo Mount, William Sidney Mount, August 23 to September 28, 1947
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In the early years, some of Mount's more prominent Long Island patrons were members of the Wells, Weeks, Mills, and Strong families. Often, Mount was commissioned to paint
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469:. Mount quickly returned to his brother Robert Nelson Mount's (1806–1883) house in Setauket, where he died of pneumonia, November 18, 1868. He is buried in
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When another family friend, Martin E. Thompson, saw Mount's renditions/drawings, he recommended that he enroll as a student at the newly formed
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William Sidney Mount never married or had children. His family home, surrounding property, and various outbuildings in Stony Brook became a
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After his father's death in 1814, Mount was sent to live with his uncle and aunt, Micah (1777–1825) and Letty (c. 1777 – 1835) Hawkins in
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Book of Mark when Christ commands the young girl to arise from the dead and walk, created a sensation when it was exhibited at the
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Influenced by classically trained artists, Mount's initial artistic desire was to become a historical painter. Inspired by
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who excelled at depicting subject from biblical history and would inspire Mount to focus his attention on becoming a
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often selected from scenes in classical texts that represented death, resurrection, or near-death experiences.
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Mount fell ill while on a trip to New York City to tend to the affairs of his recently deceased brother,
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and the lofty styles of these artists. Striving to create his own success, Mount produced a number of
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180:. Mount avidly set about copying the Hogarth prints, as a way to further his artistic skill.
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Mount's work can also be found in many collections around the United States, including the
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823:, exhibition catalog from The Metropolitan Museum of Art fully available online as PDF
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in New York. His first success in genre painting was the multi-figural
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behind, Mount found great success and much needed funds in portraits.
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owns the largest repository of Mount artwork and archival material.
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A Time to Mourn: Expressions of Grief in
Nineteenth Century America
748:. Long Island, NY: The Suffolk Museum at Stony Book. ND237.M853S8.
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by the enthusiastic reception his initial efforts received at the
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Mount's greatest success and what he is most famed for are his
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life of rural
America was not worthy of their high calling.
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Under his brother Henry's encouragement, Mount attended the
788:. Stony Brook, NY: The Museums at Stony Brook. p. 14.
763:. Stony Brook, NY: The Museums at Stony Brook. p. 13.
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in 1965. The site is at the corner of Stony Brook Road and
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Long Island Museum of American Art, History, and Carriages
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Long Island Museum of American Art, History, and Carriages
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Long Island Museum of American Art, History, and Carriages
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Cradle of Harmony, created by William Sidney Mount, 1852.
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In the early 1850s, Mount showed an intense interest in
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Genre, landscape, portrait painting, and violin design
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while his mother moved back to her father's home in
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Mount was born November 26, 1807, in the village of
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235:(1828), which depicts the moment described in the
786:Catching the Tune: Music and William Sidney Mount
761:Catching the Tune: Music and William Sidney Mount
666:. New York, NY: The American Federation of Arts.
715:Pike, Martha and Janice Gray Armstrong (1980).
664:William Sidney Mount: Painter of American Life
471:Setauket Presbyterian Church and Burial Ground
220:, as noted above, Mount was enamored with the
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1421:A Storm in the Rocky Mountains, Mt. Rosalie
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231:Mount's first major oil painting,
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1515:People from Stony Brook, New York
1505:National Academy of Design alumni
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503:Yale University Art Gallery
499:Nelson-Atkins Museum of Art
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721:The Museums at Stony Brook
550:Portrait of Laertes Chapin
483:Metropolitan Museum of Art
456:William Sidney Mount House
452:National Historic Landmark
241:National Academy of Design
197:National Academy of Design
1164:William Louis Sonntag Sr.
1064:Ransome Gillett Holdridge
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954:Johann Hermann Carmiencke
535:Dancing on the Barn Floor
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261:Self Portrait with Flute
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1358:Among the Sierra Nevada
1271:Catskill Mountain House
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944:Alfred Thompson Bricher
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1159:Francis Augustus Silva
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159:Education and training
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1301:Kaaterskill High Peak
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1119:Charles Herbert Moore
1024:Eliza Pratt Greatorex
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959:John William Casilear
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662:Johnson, Deb (1998).
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1372:The Course of Empire
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929:Albert Fitch Bellows
872:Age of Enlightenment
692:William Sidney Mount
629:Rehs Galleries, Inc.
513:, among others. The
467:Shepard Alonzo Mount
426:Exposition in 1853.
301:Shepard Alonzo Mount
226:historical paintings
138:Shepard Alonzo Mount
108:William Sidney Mount
23:William Sidney Mount
1331:Storm King Mountain
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999:Robert S. Duncanson
984:William Moore Davis
949:William Mason Brown
914:John Dodgson Barrow
909:William Bliss Baker
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719:. Stony Brook, NY:
694:. Harry N. Abrams.
625:Muzzle Down / Peace
477:Notable collections
366:Girl with a Pitcher
292:Jedediah Williamson
245:historical painting
38:photograph of Mount
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1194:Robert Walter Weir
1149:Ferdinand Richardt
1139:Harriet Cany Peale
1094:Homer Dodge Martin
1089:Edmund Darch Lewis
1004:Asher Brown Durand
989:Lockwood de Forest
723:. pp. 73–86.
610:The Power of Music
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409:Cradle of Harmony
348:, 1829, painting.
346:Girl with Pitcher
280:Portrait of a Boy
269:history paintings
208:History paintings
191:, 1828, painting.
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36:Daguerreotype
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1398:
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1386:The Icebergs
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1377:
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1363:
1356:
1321:Platte Clove
1174:Jesse Talbot
1133:
1124:Thomas Moran
1039:William Hart
882:Victorianism
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1455:1868 deaths
1450:1807 births
1306:Lake Mohonk
1059:Thomas Hill
969:Thomas Cole
877:Romanticism
454:dubbed the
399:Mendelssohn
251:Portraiture
153:Stony Brook
133:Long Island
112:Stony Brook
90:Nationality
49: 1855
1444:Categories
1189:Paul Weber
730:0295963255
701:0810903156
636:References
595:Winding Up
309:posthumous
123:Early life
77:1868-11-20
1407:The Oxbow
1341:Hyde Park
1286:Ever Rest
1264:Locations
865:Movements
379:Beethoven
118:Biography
627:, 1865,
395:Schubert
368:, 1829.
267:Leaving
93:American
1400:Niagara
1213:Museums
896:Artists
886:Realism
521:Gallery
391:Rossini
328:, 1838.
294:, 1837.
282:, 1837.
263:, 1828.
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552:, 1833
537:, 1831
509:, and
497:, the
493:, the
485:, the
446:Legacy
387:Mozart
203:Career
1350:Works
1316:Olana
383:Weber
316:Genre
790:ISBN
765:ISBN
725:ISBN
696:ISBN
668:ISBN
405:.
216:and
70:Died
56:Born
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