Washington portrait painter
Coolidge 1930, 353 his father Thomas Jefferson Coolidge II died in 1912.Įxhibition History 1832 American Academy of the Fine Arts, New York, 1832, no. On Coolidge see Dictionary of American Biography, 2 (part 2):395, and Emma Downing Coolidge, Descendants of John and Mary Coolidge of Watertown, Massachusetts, Boston, 1930, 351. Gibbs in the 1850s certifying that the portraits were painted by Stuart for Colonel Gibbs (copies, NGA curatorial files). These were his copies of letters written to Mrs. After agreeing upon the price, he wrote Coolidge on 27 June 1872 that he was sending the portraits to Boston the next day with some documents concerning their history. Lazarus acted as the Gibbs' agent in the sale. Tom Michie's research on these portraits (NGA curatorial files) has been very helpful in writing these entries. with 8 supplements, New York, 1944-1988, 4 (part 1):244-245, and Stephen Dow Beckham, "Colonel George Gibbs," In Benjamin Silliman and his Circle: Studies on The Influence of Benjamin Silliman on Science in America, edited by Leonard G. On Gibbs see George Gibbs, The Gibbs Family of Rhode Island and Some Related Families, New York, 1933, 18-21, Dictionary of American Biography, 20 vols., New York, 1928-1936, reprinted in 10 vols.
#WASHINGTON PORTRAIT PAINTER PDF#
More information on this painting can be found in the Gallery publication American Paintings of the Eighteenth Century, pages 265-266, 268-270, and 273, which is available as a free PDF at
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Centuries later, Stuart’s portrayal of Washington remains the best-known image of the United States’ first president-as writer and critic John Neal wrote in 1823, “So, Stuart painted him and though a better likeness of him were shown to us, we should reject it for, the only idea that we now have of George Washington, is associated with Stuart’s Washington.” Over the course of his career, Gilbert Stuart painted at least 100 portraits of George Washington, most of them also copies of the 1796 painting. Each portrait reflects Stuart’s knowledge of anatomy and his belief in theories of physiognomy, which hold that a study of the outward body can reveal a person’s character. The work demonstrates Stuart’s extraordinary ability to capture an individual’s likeness, which was based on a gift for assessing each sitter’s personality through conversation and on his close observation. Here, Washington is shown looking to the left, wearing a black velvet suit and a white shirt with a ruffle of lace or linen. One of four Stuart portraits of George Washington owned by the National Gallery, this 1821 work is derived from Stuart’s second life portrait from 1796 (now jointly owned by the Museum of Fine Arts Boston and the National Portrait Gallery).
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Attracting commissions from prominent patrons in the colonies and abroad, Stuart’s portraits of Washington were a success from the start, and two more such sittings would occur over the next several years. Gilbert Stuart’s ambition when he left Dublin in 1793 was to paint the first president of the United States – he supposedly declared to a friend: “I expect to make a fortune by Washington.” After the artist traveled to Philadelphia in the late autumn of 1794 with a letter of introduction from Chief Justice John Jay, the president sat for Stuart sometime the following year.