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Founded as an idea to elevate the ideals of American citizenship by a group of Union League Club members traveling in France on July 4, 1866, it was thought a better educated citizenry would not repeat the then recent mistakes of secession and the American Civil war.

True to its recent revisionist ways  the  mouth piece of the left, The New York Times continues its pathetic crybaby rant about colonialism, even as the first post Colonial power had removed the shackles of Slavery at the tremendous cost of almost one million dead on the battlefield.

In addition, nary a word is mentioned that in the mid 19th century Democrats were the party of human bondage while the Republicans were the force for freedom.

Consider these last two thoughts founded by those same Republicans and members of the Hudson River School (Frederic Church and John Kensett) almost nothing is mentioned of either parental forces. 

That seemingly purposeful institutional blind spot or amnesia by design practically defines revisionism and why the current curators and administrators of said museum should be fired and replaced by those who can honestly acknowledge the wisdom and foresight of those gentlemen who founded one of the greatest art museums in the world.

Before we move on to the seditious claptrap the NY Times has become known for, seen here is a list of those founding trustees whose earliest efforts together aside from fellowship at the Union League Club was the establishment in 1864 of the Metropolitan Sanitary Fair, a one off exhibition for the sole purpose of raising funds to tend those wounded on the battlefield in the great crusade to end the evil of slavery. Artists would donate works and the proceeds go directly to the United States Sanitary Commission - a direct predessessor of the Red Cross.

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Frederic Church had a number of twilight lithos made to which he added the semblance of an American flag burning in the sky, no more appropritate image could represent the dire straits the nation endured at that moment.

CB291037 DA12 4A4D 8267 E30B10693D9FOur banner in the sky - Frederic Edwin Church (1826-1900)

Hundreds of other artists submitted works and with those funds raised being earmarked for the sick and wounded.

Upwards of a half million Yankees died in the fight to save the union and end slavery yet from the NY Times on this subject all you hear are.... crickets, let alone the fact that this was the immediate cultural context that gave rise to this noble museum whose anniversary we justly celebrate.

Early artists and trustees from the Union on that founding board included: 

Eastman Johnson (artist), Theodore Roosevelt (the father), Lucius Tuckerman (brother of art critic James Tuckerman), Frederic Edwin Church (artist), Richard Morris Hunt (architect), J.Q.A. Ward (sculptor), George Comfort (relative of Louis Comfort Tiffany), John Frederick Kensett (artist, and whose estate in 1874 laid the foundation of the American Wing) and Joseph Hodges Choate ( future ambassador to Great Britain and a patron of the arts). 

Patriots, Patrons, Artists and above all believers in the creed that all men were born equal. These are the lions who should be lauded and not the bitter musings of passé identity politics who's  forebearers decried such noble endeavors to set men free.

Post scriptum

The author Robert Alexander Boyle was the chairman of the Art Committee of the Union League Club from 1997-2006

While serving in that capacity he recovered stolen art from the club with the help of B. Grant Fraser and the Federal Bureau of Investigation. He helped put together shows at the Metropolitan Museum of Art such as "Manet and the American Civil War," and "Hudson River School Visions, the Landscapes of Sanford Robinson Gifford." 

For the Brooklyn Museum he contributed to "Eastman Johnson, Painting America" and for the Westmoreland Museum he contibuted to the "Masterworks of George Hetzel' which also traveled to the Jognstown Flood Museum.

His favorite memory was finding a large dusty painting in the storage bins on 3M depicting a union officer with a scowl on his face. The canvas turned out to be of General George Thomas by Eastman Johnson after the General declined a Congressional Medal of Honor for commanding the victorious Union troops at the Battle of Nashville. Orders for Thomas' dismissal came clacking in via telegraph just as Thomas unleashed his cavalry on the defeated rebels. Thomas was fired for leading the only total victory in that awful war. Johnson's canvas conveys it quite well, Honor delayed was honor denied. 

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The Met Casts New Light on its Greatest Hits and History

“In a dark time, the eye begins to see,” the poet wrote. And after the dark, dark time we’ve been through, this year’s winter solstice, marking the start of slow climb back into light, may carry more metaphorical weight than usual.

Coincidentally, the Metropolitan Museum of Art has some restorative illumination of its own underway. In recent decades, the skylights that brought natural light into the European paintings galleries had grown timeworn and semi-functional, leaving some spaces half-dark. In 2018, the museum initiated a four-year project to replace all the skylights. The job required that half of the 45 galleries be closed down in two phases and chunks of the collection be temporarily stored or relocated. (The museum’s Dutch paintings are on view in the Robert Lehman Wing.)

Read more on The New York Times:

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