“Heaven knows how to put a proper price upon its goods; and it would be strange indeed if so celestial an object as FREEDOM should not be highly rated.”—Thomas Paine, The American Crisis, Number 1.

The centerpiece of the New American Gallery at the Metropolitan Museum of Art, Emmanuel Leutze’s Washington Crossing the Delaware, invites strong reactions from whoever happens to behold it. Responses, which range from anecdotes of soldiers, who stood in tears before the masterpiece, to tourists, who laugh out their bellies at the same piece, are in no short supply. What is so interesting is the fact that the emotions evoked by the painting are either on one extreme end of the spectrum or the other. Initially, I found the romantic style and excessive patriotism of a German-“American” artist painting in Germany quite repulsive, to say nothing of the relative lack of symbolism in this 150” x 255” piece. After spending three weeks trying to create a film from the piece under the auspices of the Met Teen program, however, I realized this painting has already become a symbol of the ethos of the American people. This sentimental and histrionic still attempts to convey a story just as compelling as any theatrical performance or film that anyone could happen upon. Given that Washington Crossing the Delaware is the blockbuster of its day (which is more or less true, since it was created in 1851), it’s no wonder that a reasonable viewer cannot help either exalting or disdaining it.

The title itself tells much about the piece: not surprisingly, Leutze’s piece depicts General Washington and his men crossing the Delaware River. In this painting, Washington stands out as the predominant figure – not only the tallest, but also the most striking (two rays of light shine on him, and the bright red in his cloak immediately pulls the eye in). Like ancient Greek sculptors or the Renaissance artist Michelangelo, Leutze purposely exaggerates the stance of his subjects (in this case Washington) so as to achieve a stunning emotional impact. By taking the artistic license to portray Washington in a much smaller boat and in such a heroic stand, he braves criticism to show Washington as the indefatigable leader of the Patriotic forces in their darkest hour. The Delaware Crossing on that midnight after Christmas in 1776 freed America; had the operation failed, the Continental Army would have collapsed from the lack of enthusiasm in an ailing cause.

Hope of unity and unity of hope in this painting continue to be core values in America today, but these values continue to raise questions. The genius of Leutze is in recognizing that, even though America may be the most tolerant and diverse nation in the world, more must be done to secure the rights of all men. The duplicity in fighting for freedom against tyranny while supporting the institution of slavery cannot be more pronounced than in the juxtaposition of Washington and his slave Billy Lee in the front. Even a cursory glance at the painting would reveal the cultural richness in the clothing of the soldiers: French Canadian, French, Scottish, German, and African American cultures and contributions to the founding of America is recognized and lauded by their presence beside George Washington as his right-hand men.

Today’s America is more divided than ever before. The economic malaise has fueled political extremes on both sides of the spectrum. Bipartisanship can be scarcely less evident than in the relentless bickering in Congress and the negative ads on TV. But in the midst of all the chaos, has America been blinded against the guiding light of God or hope (symbolized by the Polaris of the dawn) of a better tomorrow? Difficulties have brought the Patriots of the past closer than ever before by urging them to keep aside their differences and working upon a common goal (in this case, towards Trenton, NJ). It is through this conviction that James Monroe and another soldier hold on to the yet non-existent flag in the work. Scrutinizing the faces of each of the men in the first boat reveals that each one is but another view of Washington’s bust (which Leutze used as a model to Washington’s face); paradoxically, they symbolize both the tolerance and intolerance of diversity. For, while the men came from different backgrounds, by joining the paramilitary group, they in effect sacrificed their individualism in lieu of homogeneity, almost at any cost (against the English, and certainly against their fellow loyalists).

With the state of urgency long over, America has long been the liberal battleground (or playground) where different opinions are discussed without malevolence. However, our conflicting interests continue to divide us today, bringing Americans ever further from each other and inciting suspicion and hatred against one another. Looking at the painting, what kind of America would you fight for now, keeping in mind that it’s either “Victory or Death”?