"Washington Crossing the Delaware" is the title of three 1851 oil-on-canvas paintings by the German-American artist Emanuel Leutze.

Result #1

"Washington Crossing the Delaware" is the title of three 1851 oil-on-canvas paintings by the German-American artist Emanuel Leutze. The works have been dated from 1922 to 1941, with the dates kept secret by the gilt frame. The first painting in the show was a wetland set against a gray background. The painting was shown alongside Leutze's paintings of the same year, and is named after the water sources of New York, where he spent many summers between 1922 and 1923. The second work is a blood-red field, probably from 1923. The third painting is a dark green one, probably the same year as Leutze's Verdun dEtanger (Summer Fire). The painting shows a group of overlapping black circles painted on an unprimed canvas. The circles are isolated, barely visible, so that they seem to be rushing forward. The artist's gestures are made with extreme skill, and the intensity of the paint itself is intense and strongly reflective. Leutze's painting doesn't merely convey the intense lightness of the air, it is clear, too, that the paints high gloss does more than absorb the light; the reflective effect changes the lightness of the paint into something completely different. If the paint of the paintings is dirty, as Leutze's work is, it is because the reflective properties of the paint make it more slippery, less safe.The shows centerpiece, a small, crudely painted wood carving in which a head is rendered with a scatological smile, the captioned imagery is a clear nod to Leutze. The words are written in pencil on the piece, and a hollow, gooey-looking head sits atop the carved body. It has been painted on black. The head is surrounded by the letters, and the words were written on paper in the same year. The center of the carving, where the words would normally begin, is reserved for a ghoulish and morbidly ambiguous piece of written language: A. W. (French for, in French, I).

Result #2

"Washington Crossing the Delaware" is the title of three 1851 oil-on-canvas paintings by the German-American artist Emanuel Leutze. The work consists of an array of intersecting bands that flow from a central feature to a central or striped mass, most of which are unprimed. Leutze takes his inspiration from Old Master painting, often seen in Renaissance illuminated manuscripts, and the painting style is reminiscent of Dutch masters. On the far right, however, Leutze uses a similar, but still free-floating, style. The horizontal bands are heavily painted, and the more slender vertical ones are painted in a secondary hue of cream or a darker gray. Both are sheer and sheer, their surfaces defined by rippling. The three horizontal stripes on the left side are joined at the middle by the vertical color scheme of the right side. The horizontal bands are worked flat, and the vertical stripes are done with reflective paint on the canvas. Both are coated in glossy black. The surface is glossy, so that the paint and the paintbrush carry the same weight. Leutze incorporates the detail of the colored bands into his surface and the paint becomes the single most important component of his painting. He did not create a surface for the surface. He creates a surface for the surface.In the three works from the series United States Crossroads, Leutze also combined Old Master paintings with his own. In two of the three paintings, the patterns he employs are identical. In one, the stripes are almost completely greenish, in the other, yellowish. All the paintings are black and have a base black color. These works are comparable to a U.S. flag, but the paint is applied in such a way that the colors of the stripes are not distinctly revealed. They are seen as fluid, diffuse colors. These two series have been compared to that of an Edvard Munch. Leutze makes the colors look so identical that it is difficult to believe that he is applying them on a canvas. The colors are created from a deep blue palette and intense blues.

Result #3

"Washington Crossing the Delaware" is the title of three 1851 oil-on-canvas paintings by the German-American artist Emanuel Leutze. Leutze painted the body of a crucified Christ from a single-storey window in what is now the National Gallery of the US. His design, like that of several of his contemporaries, reflects a subtle delineation of the body over a very slim and unadorned base, with an occasional (if rather of the century) hint of grotesquely articulated limbs. This painting, to some extent, served as a precursor to the early American landscape-based painters of the period, such as Jackson Pollock, who used images of a haloed Jesus, God, or angels in an effort to express the self-created order of nature and to thereby reconcile the fundamentalist Christian spirit with scientific materialism.This show included seven small oil paintings by Leutze from the late 20s. Four of these are called Portrait of Leutze, 1925–26, and each was dated with the date on which the work was produced, when in the late 20s it was exhibited. Two of these are as richly detailed as paintings by any contemporary German artist—four-part portraits such as the one of Hitler or Mussolini—that Leutze painted. The remaining seven works in the show were reworked by the artists studio from wood into oil. The wood was mostly imported from Europe, and the entire lot, at almost five feet by ten feet, was assembled by the artists hand. The results, as one might expect from a work of the time, are a well-balanced but still-unfinished composition in oil with a rich, although not ghoulish, interplay of underlying color and grid. But the paintings, as the catalog essay explains, are not primarily associated with the Deutsch painter Jacob de Gelder or the American Pop artist Dick Perce, who both exhibited their work in the early 20s.

Result #4

"Washington Crossing the Delaware" is the title of three 1851 oil-on-canvas paintings by the German-American artist Emanuel Leutze.The gas paintings, some from the first half of the century, are of a predominantly blues and maroon palette that suggests a washed-out, cool reality. Leutze, who made his reputation by creating his own synthetic cigarette, developed a powerful style of composition in his work that derives from the primary figures in the philosophical, ethical, and religious culture of Europe. Leutze did not exhibit these paintings as clean images of wholesome and earthly nature; rather, they used the medium to express psychological states, including those of depression, loneliness, anxiety, and fear. Leutze was a poet-painter-smith as well as a mechanic, and his work is often characterized by a clear, clear-headed mind, a self-assured self-reliance, and a sense of the value of originality in the face of the present.One of Leutzes first works was a mannequin, a life-size model of a young, nude nude, but very curly-haired man who looks up from his model to ask, Is this figure yours? His other works on paper included portraits of friends, such as his father and a friend of his father, Pierre Leutze. In the 19th century, many of these portraits were of many different people, including a young mans father, who looks in great detail at a young man in profile. Leutze was an imaginative and charismatic artist who seemed to embody the spirit of his time. His work conveys the spirit of reason and of social tolerance. He also understood the spirit of discovery and devotion in the face of life and death.These paintings were so finely detailed that they were difficult to look at, but they had an understated, almost naive air that spoke to the artists sensuousness, while at the same time it was a strange, abstract, minimal form of expression.

Result #5

"Washington Crossing the Delaware" is the title of three 1851 oil-on-canvas paintings by the German-American artist Emanuel Leutze. The works in this show, like Leutze, are of the same type and date, and it is a pity that they were not included in this recent show. They were all of the same scale and quality, but only one was very good. The other four paintings, all of them oils on canvas, were very poor. In the middle of each is a crude, black-and-white sketch, an ink drawing of a row of bees. The sketch appears to be filled with ideas. A graphic image, ink drawings, lines drawn on a sheet of paper, a sketch in a different type of medium. The drawings are neatly cursory and careful. One of the drawings contains a tiny date which appears to be the same as the date of the sketch. The idea is there in the sketch, but the method is not; the penciled writing, the carefully drawn line, the photo-etching—none of this thing is there. It would have been interesting to see a sketch of bees in Leutzes hands. All of the drawings on display are unreadable, and it is difficult to look at them as a whole.The amount of bad work in this exhibition was such that the paint was almost indiscernible. There were certainly some good works, but they were at the bottom of the scale of the show. The large oils were dominated by small-format charcoal paintings by Ernest Olson and Paul Irwin, both of whom are mediocre in their use of color. Both works are large, intensely dark areas which are made up of dark, almost black, inked-on lines. The areas were painted dark, and not on a dark-brownish-gray background; on them, however, a small pearl-white form—a shadow—seemed to be some sort of mechanical device. The dark, over-inflated areas of color in the less-distinguished colored areas suggest abstract patterns.