Portraiture in the New Nation Flashcards
Gilbert Stuart, John Bannister, c. 1773, o/c, 36 x 30 inches. Redwood Library
Gilbert Stuart, Self Portrait, 1778, 16 3/4 x 12 3/4 inches
Gilbert Stuart, The Skater (William Grant), 1782,
96 1/4 x 58 inches
Gilbert Stuart, John Singleton Copley, c. 1784, o/c, 26 1/2 x 22 1/4 inches
Gilbert Stuart, Joshua Reynolds, c. 1784, o/c, 36 1/8 x 30 1/8 inches.
Gilbert Stuart, Joseph Brant, 1786, o/c, 23 1/2 x 24 inches
Gilbert Stuart, John Fitzgibbon, 1789-90, o/c, 96 1/2 x 60 5/8 inches
Gilbert Stuart, Richard Yates, 1793-4, o/c, 30 x 25 inches
Gilbert Stuart, Catherine Brass Yates, 1793-4, o/c, 30 x 25 inches
Gilbert Stuart, George Washington,
1795, o/c, 29 1/4 x 24 inches, Frick
Gilbert Stuart, George Washington,
1795, o/c, 28 3/4 x 23 3/4 inches
Gilbert Stuart, George Washington,
begun 1795, o/c, 30 1/4 x 25 1/4 inches. MMA
Gilbert Stuart, George Washington,
1796, o/c, 48 x 37 inches. MFA Boston / National Portrait Gallery
Gilbert Stuart, George Washington, 1796, o/c, 97 1/2 x 62 1/2 inches
Houdon, George Washington, 1785-89
Giuseppe Ceracchi, George Washington, 1795, Marble
Thomas Sully, The Passage of the Delaware, 1819
Raimondo Trentanove, George Washington, modeled 1815, carved c. 1820
Rembrandt Peale, George Washington, c.1795-1823
Horatio Greenough, Bust of Washington, 1832
John Vanderlyn, George Washington, 1832
Emmanuel Leutze, Washington Crossing the Delaware, 1851
Karl L. H. Müller, Century Vase, Made by Union Porcelain Works, Greenpoint, Brooklyn, 1876. Porcelain.
Washington Closing the Masonic Lodge, c. 1870s, chromolithograph.
Grant Wood, Parson Weems’ Fable, 1939
Ralph Earl, Roger Sherman, 1775-76
Ralph Earl, Elijah Boardman, 1789, o/c, 81 5/8 x 55 1/4 inches
Earl portrayed the richly dressed dry goods merchant Elijah Boardman (1760–1823) in his store in New Milford, Connecticut. His right hand rests on a counting desk protected and decorated by green cloth secured with brass nails. The shelves of the desk house books, including Moore’s “Travels,” Shakespeare’s plays, Milton’s “Paradise Lost,” Johnson’s dictionary, and the “London Magazine” for 1786. Through the open paneled door to the right of the subject, bolts of plain and patterned textiles, including one with a prominently displayed British tax stamp, invite inspection and tell the viewer how Boardman earned a living, just as the books in his desk and the letter in his hand speak of his learning and awareness of culture.
Ralph Earl, Daniel Boardman, 1789, o/c, 81 5/8 x 55 1/4 inches
How is the way that Ralph Earl depicted his American patrons different than that of the British aristocracy? In particular,is his portrait of Daniel Boardman, where the subject stands before the landholdings he and his brother had acquired, really suited to the “restrained tastes and republican virtues” of Connecticut inhabitants? This seems more like aristocratic imagery than an attribute of the subject’s trade.
Ralph Earl, Esther Boardman, 1789, o/c.
Ralph Earl, Mrs. James Watson & Son , James Talcott, 1788.
Comparing Earl and Stuart, where Stuart painted considerably more portraits than Earl but left many of his patrons dissatisfied, who would be considered a more “successful” artist? Does success have to do with money, reputation, amount of work, or providing a pleasing portrait?
Ralph Earl
John Wesley Jarvis, Mrs. Robert Dickey (Anne Brown), ca. 1807-10.
John Wesley Jarvis, Gen. Andrew Jackson, ca. 1819
Based on the reading, “The Burden of Portraiture,” on page 63 the texts states that “Old-timers like John Wesley Jarvis were probably flattered when youngsters entered their studios.” My question is, what made other painters so much more popular than Jarvis that the youngsters either stopped going to learn from him or never even went to study under Jarvis at all?
John Wesley Jarvis, Mr. Cook, 1810, Watercolor on ivory
William Dunlap, Self Portrait, ca. 1825, watercolor on ivory.
William Dunlap, Mr. and Mrs. John Adams Conant, 1829
Samuel Finley Breese Morse, Susan Walker Morse (The Muse), ca. 1836-7.
