04/22/2026
Our reinterpreted galleries of American art are opening in just a few days, on April 25. Objects are being installed in thematic sections, bringing works together in sometimes unexpected ways. The sixth and last section, “Artistic Practice,” examines facets of the artistic profession in America, such as training, working methods, and the role of tradition and innovation.
This sculpture, Thomas Crawford’s “Boy Playing Marbles” (1853), shows the influence of European traditions on American art. Crawford moved to Rome in 1835 to practice his art, gaining access to quality marble, skilled studio assistants, and abundant historical examples from classical antiquity and the Old Masters. Crawford embraced a neoclassical style and its idealized treatment of the human form. He enjoyed a successful career producing both public monuments in the United States and more lighthearted works like this one, which was made for Stephen Salisbury II, father of WAM’s founder.
George Hunzinger, maker of the “Eastlake Armchair,” was a German-born craftsman who innovated furniture-making in the second half of the 19th century. He produced chairs and other items using machine-made, interchangeable parts that could be assembled into different configurations at varying price points. For instance, this “Eastlake” model was also available as a rocking chair. His works anticipate the mass-produced, ready-to-assemble furniture popular today.
👦🗿: Thomas Crawford, “Boy Playing Marbles,” 1853, Marble. Bequest of Stephen Salisbury III, 1906.116
🪑: George Hunzinger, “Eastlake Armchair,” about 1878, Walnut, cloth covered woven wire seat and back. Stephen Salisbury III Fund and Mrs. Albert W. Rice Acquisition Fund, 1985.8
