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  • A fully clothed European man steps out of a crowded longboat onto the shore, where he is greeted by several Indigenous people bearing gifts, who are stereotypically depicted as minimally clothed.
  • A fully clothed European man steps out of a crowded longboat onto the shore, where he is greeted by several Indigenous people bearing gifts, who are stereotypically depicted as minimally clothed.
  • A fully clothed European man steps out of a crowded longboat onto the shore, where he is greeted by several Indigenous people bearing gifts, who are stereotypically depicted as minimally clothed.

Alonzo Chappel

The Landing of Roger Williams in 1636
Now On View

Maker

Alonzo Chappel (American, 1828-1887)

Title

The Landing of Roger Williams in 1636

Year

1857

Medium

  • Oil on canvas

Materials/Techniques

Techniques

  • Oil on canvas

Materials

oil paint

Supports

  • canvas

Dimensions

50.8 x 61.3 cm (20 x 24 1/8 inches)

Credit / Object Number

Credit

Museum Works of Art Fund

Object Number

43.003

Type

  • Paintings

Publications

  • Journal

Manual / Issue 6: Assemblage

Exhibition History

United Histories
Mar 23, 2018 – Aug 12, 2018

Label copy

This pair of works demonstrates how artists have used historical representations to address the issues of their own times. In her 2006 print Cotton Hoards in the Southern Swamp, Kara Walker stencils figures onto images from Harper’s Pictorial History of the Civil War, published in 1866. Walker’s overlayed black figures reassert the stories of African Americans that have gone untold in the historical record.

In the 1857 painting, Alonzo Chappel inventively portrays the 1636 arrival of Roger Williams in what is now Rhode Island, imagining an enthusiastic welcome by the Narragansett people already living here. This heroicized image was created when U.S. policies were forcing many thousands of Native Americans onto reservations, freeing their homelands for European settlement.

While Walker’s work intentionally engages fiction to tell suppressed historical truths, Chappel’s composition embellishes a historical event to support the dominant power hierarchies in the era in which he lived.

To hear Lorén Spears (Narragansett/Niantic) discuss Chappel’s painting, go to https://risdmuseum.org/manual/422_the_landing_of_roger_williams.

[see also: 2006.48]

18th and 19th-Century American Galleries
Jun 19, 2015
Charles Pendleton House
Jan 02, 2015
An American Idyll
19th-Century Paintings and Decorative Arts
Apr 06, 2007 – Jan 06, 2008
After Eden
The Rise and Reform of American Art, 1840-1910
Apr 26, 1996 – Dec 29, 1996
  • More Exhibition History +

Related Objects

Rowland and Marsellus

Landing of Roger Williams Plate

George R. Hall

Landing of Roger Williams

More objects +

Image use

The images on this website can enable discovery and collaboration and support new scholarship, and we encourage their use.

Public Domain This object is in the Public Domain and available under a CC0 1.0 Universal (CC0 1.0) Public Domain Dedication

Tombstone

Alonzo Chappel (American, 1828-1887)
The Landing of Roger Williams in 1636, 1857
Oil on canvas
50.8 x 61.3 cm (20 x 24 1/8 inches)
Museum Works of Art Fund 43.003

To request new photography, please send an email to imagerequest@risd.edu and include your name and the object's accession number.

Feedback

We view our online collection as a living documents, and our records are frequently revised and enhanced. If you have additional information or have spotted an error, please send feedback to curatorial@risd.edu.

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