Art History IIThe Eighteenth Century

Art in Early America

John Singleton Copley painted Paul Revere (1768) at his workbench; Gilbert Stuart painted George Washington; Jefferson designed Monticello on Roman and Palladian models.

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In the British colonies of North America there were no academies, few collectors and almost no old paintings to study. Portraits were what people wanted, and a few gifted painters, mostly self-taught, learned from prints and the occasional imported picture. They drew on the British portrait tradition and, after independence, on Neoclassicism.

Looking closely: Paul Revere

John Singleton Copley, Paul Revere, 1768. Museum of Fine Arts, Boston.

Describe. A man in shirt sleeves and an open waistcoat sits at a polished wooden table, chin in hand, holding a silver teapot. Engraving tools lie on the table. Analyze. Strong light from the left falls on his face, white shirt and the teapot against a dark background. The table's reflections and the shine of the silver show off Copley's skill with surfaces. Interpret. Paul Revere (1734 to 1818) was a Boston silversmith and engraver. Copley painted him as a craftsman at work, in working clothes, proud of a skilled trade, which was unusual: wealthy sitters usually wanted silk and columns. Revere later became famous for his midnight ride of 1775, but this portrait, painted seven years earlier, is about his craft.

Key idea

John Singleton Copley painted Paul Revere (1768) at his workbench as a silversmith; Gilbert Stuart painted George Washington (1796); Thomas Jefferson designed Monticello on Roman and Palladian models.

Common mistake

People think Revere's portrait shows a rider. Copley painted him as a silversmith, holding a teapot he may have made, with engraving tools on the table, in 1768, years before the famous ride. Look at what the sitter holds and wears: they tell you how he wanted to be seen.

John Singleton Copley (1738 to 1815) taught himself in Boston from prints and became the best portraitist in the colonies. In 1774 he left for London and never returned. Gilbert Stuart (1755 to 1828) trained in London and came home to paint the leaders of the new nation. His unfinished Athenaeum Portrait of George Washington (1796), only the head painted, became the model for dozens of copies he sold and, later, for the face on the one-dollar bill.

Gilbert Stuart, George Washington (the Athenaeum Portrait), 1796. Owned jointly by the National Portrait Gallery, Washington, and the Museum of Fine Arts, Boston.

Monticello

Thomas Jefferson, Monticello, Charlottesville, Virginia, built 1769 to 1809.

Thomas Jefferson designed his own house on a hilltop in Virginia and rebuilt it over forty years, from 1769 to 1809. He based it on the books of the Italian architect Andrea Palladio and on Roman temples: a portico of columns with a triangular pediment, and a shallow dome, which he added after seeing new buildings in Paris, such as the Hôtel de Salm, while he was American minister to France (1784 to 1789). Monticello was the center of a plantation worked by enslaved people, and today the site presents their lives and work alongside the house.

The classical orders. Monticello's porticoes use columns and a pediment from this tradition.

Why it works

A young republic looked to the ancient republics for its image. Jefferson wanted American public buildings to follow Roman models, and he used them for the Virginia State Capitol and the University of Virginia as well as his house. The classical style signaled order, learning and citizenship.

Worked example: Reading a portrait

In Copley's portrait, Revere holds a teapot and has engraving tools before him. What do these choices suggest?
  1. Revere was a silversmith and engraver.
  2. The teapot and tools are the products and instruments of his trade.
  3. Copley shows him as a skilled craftsman, proud of his work.

Answer: He is presented as a working silversmith.

Practice

Pass with 3 right answers, the last 2 in a row. Each right answer earns 2 XP.

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