By Sherwood<\/a><\/span> <\/p>\n

Having commanded the Continental Army during the American Revolutionary War, served as the first President of the United States and presided over the Constitutional Convention, George Washington earned his fame. However, painter Gilbert Stuart was largely responsible for the stoic qualities popularly associated with Washington today. Stuart produced three main variations of Washington during his brief stay in Philadelphia. Named for the parties who purchased them, the Vaughan<\/em> (1795), Athenaeum<\/em> (1796) and Lansdowne<\/em> (1797) portraits first imparted the solemnity and modesty for which Washington eventually became renowned. Stuart’s portraits of Washington were once wildly popular and remain relevant today; even the unfinished Athenaeum<\/em> has been quietly but extensively proliferated as the centerpiece of the United States’ one-dollar bill. These paintings, especially the Lansdowne<\/em>, represent the views of both Stuart and Washington on how arguably the most significant and diverse figure in American history ought to be presented. Additionally, they demonstrate how early Americans appropriated high culture to serve the principles of their new nation.<\/p>\n

Gilbert Stuart himself was hardly a patriot. Born in Rhode Island in 1755, he set sail for England on the eve of the American Revolutionary War and spent almost two decades abroad before returning.[1]<\/a> Stuart’s depictions of Washington were accordingly dispassionate. The Vaughan <\/em>depicts Washington from the torso up, facing slightly towards his right. Its simple, maroon background lightens near the edges of the subject but is otherwise dark, as if illuminated solely by his grandeur. Washington foregoes the familiar adornment of a military uniform for a plain white shirt under a black coat. Stuart positions the subject’s head in the upper third of the painting to preserve the height discrepancy that occurred between Washington, who was abnormally tall, and most other men. His disapproving countenance, the expression of a common man compelled into civil servitude by dire circumstances, captures the entirety of the viewer’s attention. Or, perhaps it was only discomfort\u2014 Washington apparently hated the experience of \u201csitting\u201d for a portraitist.[2]<\/a> Though incomplete, the Athenaeum <\/em>exhibits many of the same qualities as the Vaughan<\/em>. The background and clothing are again unremarkable and subject remains disinterested. Both portraits illustrate the austerity with which we associate Washington today.<\/p>\n

An eight-foot-tall canvas, the Lansdowne <\/em>better captures Washington’s imposing stature. The subject strikes a pose that simultaneously acknowledges both his civilian and military leadership roles, with one palm extended outwards, opened invitingly, and the other grasping a sword by his side. Stuart also replicated Washington’s signature downturn expression. A more substantial setting afforded Stuart the opportunity to imbue the scene with symbolism. The rainbow in the background bestows divine approval upon the United States, but unlike a European monarch, Washington does not bask in the blessing. Rather, he offers the viewer a stake in the new nation. In the foreground, a golden desk stands with two eagles carved into its exposed leg. The eagle had symbolized the Roman republic long before becoming the national bird of the United States. Similarly, the Grecian columns represent Athenian democracy. Both of these civilizations inspired the founding fathers to emulate classical ideals and customs. Two books stacked beneath the golden desk have legible titles: \u201cAmerican Revolution\u201d and \u201cConstitution and Laws of the United States.\u201d Gilbert indulges in a bit of revisionist history here by omitting hardships endured and mistakes made while under the Articles of Confederation. These laws encumbered the United States for twelve years before being replaced by the Constitution. The federal government’s inabilities to tax and regulate commerce called into question the durability of the new nation. Gilbert ignores the Articles entirely and emphasizes Washington’s accomplishments as a general and legislator instead, thereby misrepresenting him.<\/p>\n

Stuart knew that portraits of Washington would attract considerable attention because of the president’s popularity. Having incurred some debt while overseas, the painter’s primary intention was to generate a profit.[3]<\/a> However, that did not deter Stuart from representing Washington deliberately; the Vaughan<\/em>, Athenaeum <\/em>and Lansdowne<\/em> depict Washington with solemnity and modesty. They diverged dramatically in terms of both style and substance from the more ostentatious, luxurious and overtly celebratory way in which European leaders\u2014 especially monarchs\u2014 were depicted. Though certainly more elaborate than either the Vaughan <\/em>or Athenaeum<\/em>, the Lansdowne <\/em>was still remarkably humble relative to contemporaneous portraiture. All three paintings played an important role in the process of national mythmaking not only by immortalizing the nation’s first president, but also by culturally legitimizing the ideals of republicanism that he had fought for.<\/p>\n

[1]<\/a> Howard, Hugh. The Painter’s Chair: George Washington and the Making of American Art<\/em>. London, UK: Bloomsbury Press, 2009. 164.<\/p>\n

[2]<\/a> Howard, Hugh. The Painter’s Chair: George Washington and the Making of American Art<\/em>. London, UK: Bloomsbury Press, 2009. 183.<\/p>\n

[3]<\/a> Howard, Hugh. The Painter’s Chair: George Washington and the Making of American Art<\/em>. London, UK: Bloomsbury Press, 2009. 157.<\/p>\n

Bibliography<\/strong><\/p>\n

Gilbert Stuart, George Washington (Lansdowne Portrait)<\/em>, 1797. Oil on canvas, 243.8\u00d760.5cm. The White House.<\/p>\n

Gilbert Stuart, George Washington (Vaughan Portrait)<\/em>, 1795. Oil on canvas, 73\u00d760.5cm. The National Gallery of Art.<\/p>\n

Gilbert Stuart, George Washington (Athenaeum Portrait)<\/em>, 1796. Oil on canvas, 76.8\u00d764.1cm. The Smithsonian Institution.<\/p>\n

Howard, Hugh. The Painter’s Chair: George Washington and the Making of American Art<\/em>. London, UK: Bloomsbury Press, 2009.<\/p>\n

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