Olivia
Charles Willson Peale wove the spirit of Revolutionary America into his art. Known as a true product of the enlightened era, Peale was a proficient “painter, patriot, inventor, naturalist, and museum founder” (Wilmerding 55). Although he boasted a breadth of talents, Peale expressed an interest in visual arts early. As a young boy, he trained as an apprentice in a saddler’s shop, yet he is noted, even at this early age, for yearning to produce the art that occupied his mind (Wilmerding). After meeting his inspiration, Copley, Peale sailed to England in pursuit of Benjamin West’s mentorship (Wilmerding). Yet, the time spent in Great Britain only further delineated the charms of America in Peale’s eyes. Thus, the artist returned to his roots, moving back to Maryland with the intent of producing art (Wilmerding). A proud member of the new American nation, Peale utilized his talents to further his country’s accomplishments. The artist envisioned the importance of both the country’s history and its future in his works (Miller).
Resentful that his countrymen’s art was held in inferior esteem to their European counterparts, Peale attempted to glorify the American style (Miller). He did so, as any artist would, by striving to achieve perfection with his work (Miller). Yet, his motives are also evidenced in the themes and subject matter of his work. Such is the case in his painting, The Staircase Group. His two sons, Raphael and Titian, are depicted in this life-size portrait as they ascend a staircase (Wilmerding). Raphael claps, in his left hand, a palette and brush, both essential ingredients to the production of artwork. Literally viewed, this painting visualizes the advancement of the arts in America (Miller). As his sons ascend the staircase, Peale envisions America’s next generation of great artists reaching new levels with their work (Miller). The incline of Raphael’s head and the pitch of his walking stick lead the viewers’ eyes upward, toward the dark and mysterious second story. Yet the light, illuminating the faces of the two boys, emphasizes the merits of their aspirations and the ultimate glory of their success. As Peale perhaps anticipated with this work (or even before as he chose remarkable artists as their namesakes), his children did indeed thrive as professional artists (Wilmerding). Peale’s brood perpetuated their father’s legacy, continuing to advance American art.
In his efforts to glorify the American prestige, Peale established a museum on the second floor of Independence Hall in Philadelphia (Miller). The collection featured portraits of distinguished American citizens as well as taxonomic records of distinctly American species (Miller). Unlike museums of the more hierarchical European societies, Peale’s display was targeted at a wide audience in the hopes of proliferating knowledge of American history (Miller). In his self-portrait, The Artist in his Museum, Peale depicts himself alongside his pride and joy, the museum. The curtain is dramatically drawn to reveal the gallery from Peale’s point of view (Miller). Thus, the viewer is expected to delve into the mind of Charles Wilson Peale. Using the linear perspective model with ordered orthogonal lines, Peale indirectly references the structure and balance of the United State’s society (Miller). As the busts of American trailblazers preside over this geometrical order, Peale implies that the leadership of the American state guides it to a triumphant future. The subject’s beckoning hand acts as an invitation, a request that the viewer join him in his plight to educate Americans of their history (Miller). This connection between the viewer and the artist is teamed with an acknowledgment of Peale and his audience’s differences. His garb, complete with the knee breaches of the Revolutionary era, is a contrast to the background museumgoers’ trousers (Miller). Peale is part of a dying generation (Miller). Thus, future Americans are shouldered with the responsibility of filling Peale’s shoes by perpetuating the honor of their country.
Charles Willson Peale’s diligent efforts to advance both his country’s artistic and political reputations are realized in his works. With his sublime artistic technique, Peale produced a product of merit and even fame. Utilizing this talent, Peale, like many of his contemporaries, drew upon the resources of his newly independent homeland. The pride and joy artists felt when calling themselves Americans shines through in their works. Yet their dream for a better tomorrow remains constant. As Charles Willson Peale depicted in his pieces, the duty of future artists to forever advance America’s visual endowment carries vital importance.
Works Cited
Miller, Angela, et al. American Encounters: Art, History, and Cultural Identity. London: Prentice Hall, 2008. 125 – 128.
Wilmerding, John. American Art. Kingsport: Penguin Books, 1976. 54 – 60.
Images Cited
“Charles Wilson Peale.” 7 February 2012. Wikipedia. 15 October 2012.
<http://en.wikipedia.org/wiki/File:Charles_Willson_Peale_001.jpg>.
“The Artist in His Museum.” 3 June 2005. Wikipedia. 15 October 2012.
<http://en.wikipedia.org/wiki/File:C_W_Peale_-_The_Artist_in_His_Museum.jp g>.
Charles Willson Peale wove the spirit of Revolutionary America into his art. Known as a true product of the enlightened era, Peale was a proficient “painter, patriot, inventor, naturalist, and museum founder” (Wilmerding 55). Although he boasted a breadth of talents, Peale expressed an interest in visual arts early. As a young boy, he trained as an apprentice in a saddler’s shop, yet he is noted, even at this early age, for yearning to produce the art that occupied his mind (Wilmerding). After meeting his inspiration, Copley, Peale sailed to England in pursuit of Benjamin West’s mentorship (Wilmerding). Yet, the time spent in Great Britain only further delineated the charms of America in Peale’s eyes. Thus, the artist returned to his roots, moving back to Maryland with the intent of producing art (Wilmerding). A proud member of the new American nation, Peale utilized his talents to further his country’s accomplishments. The artist envisioned the importance of both the country’s history and its future in his works (Miller).
Resentful that his countrymen’s art was held in inferior esteem to their European counterparts, Peale attempted to glorify the American style (Miller). He did so, as any artist would, by striving to achieve perfection with his work (Miller). Yet, his motives are also evidenced in the themes and subject matter of his work. Such is the case in his painting, The Staircase Group. His two sons, Raphael and Titian, are depicted in this life-size portrait as they ascend a staircase (Wilmerding). Raphael claps, in his left hand, a palette and brush, both essential ingredients to the production of artwork. Literally viewed, this painting visualizes the advancement of the arts in America (Miller). As his sons ascend the staircase, Peale envisions America’s next generation of great artists reaching new levels with their work (Miller). The incline of Raphael’s head and the pitch of his walking stick lead the viewers’ eyes upward, toward the dark and mysterious second story. Yet the light, illuminating the faces of the two boys, emphasizes the merits of their aspirations and the ultimate glory of their success. As Peale perhaps anticipated with this work (or even before as he chose remarkable artists as their namesakes), his children did indeed thrive as professional artists (Wilmerding). Peale’s brood perpetuated their father’s legacy, continuing to advance American art.
In his efforts to glorify the American prestige, Peale established a museum on the second floor of Independence Hall in Philadelphia (Miller). The collection featured portraits of distinguished American citizens as well as taxonomic records of distinctly American species (Miller). Unlike museums of the more hierarchical European societies, Peale’s display was targeted at a wide audience in the hopes of proliferating knowledge of American history (Miller). In his self-portrait, The Artist in his Museum, Peale depicts himself alongside his pride and joy, the museum. The curtain is dramatically drawn to reveal the gallery from Peale’s point of view (Miller). Thus, the viewer is expected to delve into the mind of Charles Wilson Peale. Using the linear perspective model with ordered orthogonal lines, Peale indirectly references the structure and balance of the United State’s society (Miller). As the busts of American trailblazers preside over this geometrical order, Peale implies that the leadership of the American state guides it to a triumphant future. The subject’s beckoning hand acts as an invitation, a request that the viewer join him in his plight to educate Americans of their history (Miller). This connection between the viewer and the artist is teamed with an acknowledgment of Peale and his audience’s differences. His garb, complete with the knee breaches of the Revolutionary era, is a contrast to the background museumgoers’ trousers (Miller). Peale is part of a dying generation (Miller). Thus, future Americans are shouldered with the responsibility of filling Peale’s shoes by perpetuating the honor of their country.
Charles Willson Peale’s diligent efforts to advance both his country’s artistic and political reputations are realized in his works. With his sublime artistic technique, Peale produced a product of merit and even fame. Utilizing this talent, Peale, like many of his contemporaries, drew upon the resources of his newly independent homeland. The pride and joy artists felt when calling themselves Americans shines through in their works. Yet their dream for a better tomorrow remains constant. As Charles Willson Peale depicted in his pieces, the duty of future artists to forever advance America’s visual endowment carries vital importance.
Works Cited
Miller, Angela, et al. American Encounters: Art, History, and Cultural Identity. London: Prentice Hall, 2008. 125 – 128.
Wilmerding, John. American Art. Kingsport: Penguin Books, 1976. 54 – 60.
Images Cited
“Charles Wilson Peale.” 7 February 2012. Wikipedia. 15 October 2012.
<http://en.wikipedia.org/wiki/File:Charles_Willson_Peale_001.jpg>.
“The Artist in His Museum.” 3 June 2005. Wikipedia. 15 October 2012.
<http://en.wikipedia.org/wiki/File:C_W_Peale_-_The_Artist_in_His_Museum.jp g>.