Rachel
As the American Revolution came to an end, the most important political leader for the country appeared, George Washington, the first president of the United States in 1789. During the tumultuous first years of American independence, many struggled to break away from British influence entirely; however, socio-economic hierarchies, a vital part of British society during this period, “still marked the realms of culture and politics” (Pohl) in America. These hierarchies were especially prominent in portraiture, as they were usually seen as “personal commemorations” (Pohl). Gilbert Stuart was one artist during this stage in American history who took a great deal of interest in the portrayal of the nation’s first president. As a student of Benjamin West, certain techniques are noticeable immediately in his portraits, such as the detail of texture within clothing and hair, as well as avid use of light and shadow.
His most well-known portraits of George Washington are the Vaughan Portrait completed in 1795, and the Lansdowne Portrait completed in 1796. The Vaughan Portrait presents much less detail and vitality than his second portrait, but the softness of the portrayal conveys the ideas of independence and virtue, even though, “Washington possesses an aristocratic bearing, the artist presents him as a … man of republican rather than monarchical aspirations” (Pohl). Contrary to the elaborate style of Stuart’s teacher’s war paintings, the composition of the Vaughan Portrait is rather bleak. A dark coat on a dark background provides little variety for the viewer; but this choice directs the viewer’s eye right to Washington’s rosy face. The eye then travels downwards along his very detailed collar; perhaps the most detailed part of this portrait, the collar reflects the unknown light source and contrasts beautifully against the darkness surrounding it.
In the Lansdowne Portrait, “Stuart self-consciously promotes Washington as a republican ruler” (Pohl). The most noticeable feature is Washington’s stance, with his raised arm, which is reminiscent of a Roman Republican senator. Stuart depicts Washington in his office, and to convey the new President’s attention and dedication to his country, the artist adds “books under the table, which include a copy of the constitution and volumes of The Federalist and the Journals of Congress” (Pohl). The emerging iconography present in the furniture of the office is also an important aspect. Although less noticeable, the symbols of the bald eagles carved into the leg of Washington’s desk and the miniature flag (stars and stripes) in the back of his chair contain just as much connotation as the position of the President. The cloth of the desk had been pulled back to reveal the hidden carved treasure, an indication that the symbol of freedom was to not be ignored. Even less discernible is the flag, which is situated in a very undesirable spot; however, even a hint of the flag conveys the American identity. The position of the chair is ideal: standing, the flag is just level with Washington’s heart, and sitting, the flag would be at the back of his head, or, mind. Stuart’s subtle arrangement expresses the notion that the ideals of the country he helped to found would be, at any time in his office, either carried in his heart, or at the back of his mind.
Works Cited
Pohl, Frances K. Framing America: A Social History of American Art. New York, NY: Thames & Hudson, 2002.
Images Cited
"Lansdowne Portrait." Wikipedia. Wikimedia Foundation, 14 Oct. 2012. Web. 17 Oct. 2012. <http://en.wikipedia.org/wiki/Lansdowne_portrait>.
"Vaughan." The Gilbert Stuart Project. N.p., n.d. Web. 18 Oct. 2012. <http://gilbertstuart.somachhimelfarb.com/>.
As the American Revolution came to an end, the most important political leader for the country appeared, George Washington, the first president of the United States in 1789. During the tumultuous first years of American independence, many struggled to break away from British influence entirely; however, socio-economic hierarchies, a vital part of British society during this period, “still marked the realms of culture and politics” (Pohl) in America. These hierarchies were especially prominent in portraiture, as they were usually seen as “personal commemorations” (Pohl). Gilbert Stuart was one artist during this stage in American history who took a great deal of interest in the portrayal of the nation’s first president. As a student of Benjamin West, certain techniques are noticeable immediately in his portraits, such as the detail of texture within clothing and hair, as well as avid use of light and shadow.
His most well-known portraits of George Washington are the Vaughan Portrait completed in 1795, and the Lansdowne Portrait completed in 1796. The Vaughan Portrait presents much less detail and vitality than his second portrait, but the softness of the portrayal conveys the ideas of independence and virtue, even though, “Washington possesses an aristocratic bearing, the artist presents him as a … man of republican rather than monarchical aspirations” (Pohl). Contrary to the elaborate style of Stuart’s teacher’s war paintings, the composition of the Vaughan Portrait is rather bleak. A dark coat on a dark background provides little variety for the viewer; but this choice directs the viewer’s eye right to Washington’s rosy face. The eye then travels downwards along his very detailed collar; perhaps the most detailed part of this portrait, the collar reflects the unknown light source and contrasts beautifully against the darkness surrounding it.
In the Lansdowne Portrait, “Stuart self-consciously promotes Washington as a republican ruler” (Pohl). The most noticeable feature is Washington’s stance, with his raised arm, which is reminiscent of a Roman Republican senator. Stuart depicts Washington in his office, and to convey the new President’s attention and dedication to his country, the artist adds “books under the table, which include a copy of the constitution and volumes of The Federalist and the Journals of Congress” (Pohl). The emerging iconography present in the furniture of the office is also an important aspect. Although less noticeable, the symbols of the bald eagles carved into the leg of Washington’s desk and the miniature flag (stars and stripes) in the back of his chair contain just as much connotation as the position of the President. The cloth of the desk had been pulled back to reveal the hidden carved treasure, an indication that the symbol of freedom was to not be ignored. Even less discernible is the flag, which is situated in a very undesirable spot; however, even a hint of the flag conveys the American identity. The position of the chair is ideal: standing, the flag is just level with Washington’s heart, and sitting, the flag would be at the back of his head, or, mind. Stuart’s subtle arrangement expresses the notion that the ideals of the country he helped to found would be, at any time in his office, either carried in his heart, or at the back of his mind.
Works Cited
Pohl, Frances K. Framing America: A Social History of American Art. New York, NY: Thames & Hudson, 2002.
Images Cited
"Lansdowne Portrait." Wikipedia. Wikimedia Foundation, 14 Oct. 2012. Web. 17 Oct. 2012. <http://en.wikipedia.org/wiki/Lansdowne_portrait>.
"Vaughan." The Gilbert Stuart Project. N.p., n.d. Web. 18 Oct. 2012. <http://gilbertstuart.somachhimelfarb.com/>.