In the Bleak Midwinter

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Of the two epically scaled paintings of George Washington’s Delaware crossing, by far the most recognizable is Washington Crossing the Delaware by German-born, Philadelphia-raised Emanuel Leutze. This theatrical 1851 painting (measuring roughly 21 x 12 ft.) hangs today at the Metropolitan Museum of Art. Its charismatic Washington commands the prow of the boat as around him the diverse peoples drawn into his orbit and the cause he represents struggle together in that cause. The lesser known 1819 painting (measuring 17 x 12 ft.) by Thomas Sully depicts an illuminated Washington astride a white mount with the night sky brooding above him and snow and mud churning below. A lone twisted and blighted tree encapsulates the desolation of the revolutionary movement in December 1776. In both paintings, the centerpiece is Washington himself, already the object of a triumphal American mythology, but on that Christmas night in the year of independence, the contest was far from won, and the outlook was desperate.

Join us this month as we reflect on that bleak midwinter 248 years ago when the tide turned.

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