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Dawn at the Alamo (1905)
Although other artists had depicted famous scenes from the Alamo
or the fort itself, Henry McArdle was the first to attempt to capture
the entire battle scene on one canvas. He painted his first version
of Dawn at the Alamo in 1875. The painting was critically
acclaimed but could not find a buyer. McArdle lent the painting
to the state of Texas, along with another large battle canvas, Lee
at the Wilderness, in hopes that the state would eventually
purchase the paintings. Unfortunately, they both were destroyed
in the Capitol fire of 1881.
Recreating Dawn at the Alamo became something of an obsession
for the artist. McArdle had twin, and sometimes conflicting aims
for Dawn at the Alamo: to inspire patriotism, and to provide
a historically accurate visual depiction of the battle. So while
he labored intensively to research technical information about the
fortifications, weapons, uniforms, and other details, he also intentionally
departed from the historical record to make the painting more dramatic
and symbolic.
Amidst the blood and chaos of the scene, the "Big Three"
heroes of the Alamo are prominently depicted. On the lower left,
Jim Bowie can be found rising from his sick bed to use his famed
knife. On the lower right, David Crockett rushes into the fray,
though not wearing his trademark coonskin cap and buckskins as in
the 1875 version. The most significant change from the 1875 version
was in the role of William B. Travis. In the second Dawn at the
Alamo, McArdle greatly enhanced the physical size of Travis
to make him the dominant figure in the painting.
Dawn at the Alamo was completed in 1905.
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The Battle of San Jacinto (1895)
At the same time as he worked to recreate Dawn at the Alamo,
McArdle set his sights on The Battle of San Jacinto. Perhaps
even more than with Dawn at the Alamo, he was determined
to create an image that was accurate in every detail. His research
was exhaustive. He interviewed dozens of battle survivors and spent
days at the battlefield, taking measurements and photographing every
aspect of the scene. After meeting the elderly veterans and their
families, he put aside work on Dawn at the Alamo so he could
finish The Battle of San Jacinto while some of the veterans
were still alive to see it.
McArdle accurately depicts Sam Houston continuing to lead the charge
despite being wounded, and gives special prominence to the Tejano
force led by Juan Seguin. He consciously steered clear of a good
vs. evil theme, and his papers reveal an admiration for the courage
of the combatants on both sides.
The Battle of San Jacinto and Dawn at the Alamo were
both lent to the state to be hung in the Senate chamber of the Texas
State Capitol. Again McArdle hoped that the state would purchase
the works, but, despite the popularity of the paintings, the artist
lacked the political savvy to accomplish his goal. McArdle died
in 1908 without ever receiving a dime from the state.
His family continued to seek payment for the next two decades.
Finally, in 1927, the legislature appropriated $25,000, less than
half the appraised value, to purchase the paintings and the McArdle
Notebooks. McArdle's son Ruskin would later note in disgust, "Some
of those senators didn't know as much as a chicken about art. One
senator said you could get photographs that big a lot cheaper."
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Lee at the Wilderness (1872)
Lee at the Wilderness, McArdle's first battle painting,
survives only in the form of a photograph. McArdle had served under
General Robert E. Lee during the Civil War. In creating Lee at
the Wilderness, McArdle honed the painstaking research skills
he would use in the Texas paintings, interviewing and corresponding
with many veterans of Hood's Texas Brigade and others involved in
the battle. McArdle was heartbroken when Lee at the Wilderness,
along with the first Dawn at the Alamo, was consumed in the
1881 Capitol fire.
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Dawn at the Alamo (1875)
Like Lee at the Wilderness, the first version of Dawn
at the Alamo survives only in the form of a photograph. It was
destroyed in 1881 when the Texas State Capitol burned to the ground.
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The Settlement of Austin's Colony,
or The Log Cabin (1875)
Painted at the same time as the first Dawn at the Alamo,
The Settlement of Austin's Colony was intended to be the
first in a series of works in which McArdle would depict scenes
from Texas history. Stephen F. Austin is shown rallying his colonists
against the Karankawa Indians around 1824, as an unnamed scout comes
to the cabin door to sound the alarm. The others depicted include
land commissioner Baron de Bastrop on the left, secretary of the
colony Samuel L. Williams on the right, chief scout Ran Foster in
front of Williams, Austin's cook Simon at the window, and surveyor
Horatio Chriesman at Austin's feet.
As with the other historical canvases, McArdle was unsuccessful
in persuading the state to buy the painting, and once again allowed
it to be exhibited at the Capitol for free. It was purchased by
James DeShields, a well-known art collector, in 1901, and finally
bought by the state in 1928.
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Jefferson Davis (1890)
In addition to his battle paintings, McArdle was noted for his
portraits. He was commissoned to paint a portrait of former Confederate
president Jefferson Davis for the Capitol. This full-length work
still hangs in the Senate chamber today.
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