Gallery 22

William Rufus Gray was not a prominent person when Stuart painted his portrait. He was just 24, the eldest son of William Gray of Salem, Massachusetts, a multimillionaire senator and president of the Boston branch of the Bank of the United States. The younger Gray’s expression appears guarded, as if he is conscious of being judged against his father’s accomplishments; his parents undoubtedly held high expectations for their son’s future success.

William Rufus Gray was not a prominent person when Stuart painted his portrait. He was just 24, the eldest son of William Gray of Salem, Massachusetts, a multimillionaire senator and president of the Boston branch of the Bank of the United States. The younger Gray’s expression appears guarded, as if he is conscious of being judged against his father’s accomplishments; his parents undoubtedly held high expectations for their son’s future success.

By 1789, when this picture was painted, West was at the height of his career. King George III had given him a series of commissions to decorate Windsor Castle, including a project for the ceiling in the reception room of the Queen’s Lodge, where the royal family was living. A model for the ceiling’s central panel of the ceiling, this painting features a winged male representing Genius descending upon the female personifications of Sculpture, Painting, Architecture, Music, and Astronomy.

By 1789, when this picture was painted, West was at the height of his career. King George III had given him a series of commissions to decorate Windsor Castle, including a project for the ceiling in the reception room of the Queen’s Lodge, where the royal family was living. A model for the ceiling’s central panel of the ceiling, this painting features a winged male representing Genius descending upon the female personifications of Sculpture, Painting, Architecture, Music, and Astronomy.

Peale painted this self-portrait in 1822 as a gift to his daughter Sophonisba, and it was exhibited at the Pennsylvania Academy of the Fine Arts that year. A note in the accompanying catalogue read, “Painted in the 81st year of his age without spectacles.” This image of the elderly artist-scientist conveys Peale’s intelligence, searching powers of observation, and firm sensibility and idealism.

In this portrait Hone pauses from his reading, his finger marking his place in the book he has just put down to meet our gaze. The slight twist in his posture also lends a degree of spontaneity to the moment. This portrait was painted when Hone was a young man. He later traveled through Europe and built an impressive art collection. He was a famous diarist, and became active in politics as a speaker and organizer. Later, as mayor of New York, he presided over the opening of the Erie Canal in 1825.

In this portrait Hone pauses from his reading, his finger marking his place in the book he has just put down to meet our gaze. The slight twist in his posture also lends a degree of spontaneity to the moment. This portrait was painted when Hone was a young man. He later traveled through Europe and built an impressive art collection. He was a famous diarist, and became active in politics as a speaker and organizer. Later, as mayor of New York, he presided over the opening of the Erie Canal in 1825.

Peale painted this self-portrait in 1822 as a gift to his daughter Sophonisba, and it was exhibited at the Pennsylvania Academy of the Fine Arts that year. A note in the accompanying catalogue read, “Painted in the 81st year of his age without spectacles.” This image of the elderly artist-scientist conveys Peale’s intelligence, searching powers of observation, and firm sensibility and idealism.

Before painting a portrait, Stuart would observe his sitter in order to determine which side of his or her face would give the best outline of their profile. He would then choose that side to be closer to the viewer’s eye. As a sought-after portraitist, Stuart developed many such techniques during the course of his career. A prolific artist and enterprising businessman, he executed more than 1,100 portraits during his lifetime.

Before painting a portrait, Stuart would observe his sitter in order to determine which side of his or her face would give the best outline of their profile. He would then choose that side to be closer to the viewer’s eye. As a sought-after portraitist, Stuart developed many such techniques during the course of his career. A prolific artist and enterprising businessman, he executed more than 1,100 portraits during his lifetime.