Gallery 22

Salmon’s painting shows a precisely rendered commercial ship (or merchantman) near the British port city of Liverpool. The painstaking detail allow experts to identify the type of ship and its location; this attention extends to the buildings on the waterfront: Salmon depicted significant, identifiable landmarks, including the spires of specific churches. The artist’s representation is so precise that the painting can be dated using these structures as a guide.

Salmon’s painting shows a precisely rendered commercial ship (or merchantman) near the British port city of Liverpool. The painstaking detail allow experts to identify the type of ship and its location; this attention extends to the buildings on the waterfront: Salmon depicted significant, identifiable landmarks, including the spires of specific churches. The artist’s representation is so precise that the painting can be dated using these structures as a guide.

Daughter of a prominent Newport family and wife of a distinguished Providence merchant, Elizabeth Rodman Rogers is shown here in a vivid, spontaneous moment. She glances up from her book, finger still holding her place, as if a friend or family member has just walked into the room. This sense of intimacy was fashionable at the time the portrait was painted, and Earl was known for his “uncommon facility in hitting of the likeness . . . of giving life to the eye, and expression of every feature.”

Daughter of a prominent Newport family and wife of a distinguished Providence merchant, Elizabeth Rodman Rogers is shown here in a vivid, spontaneous moment. She glances up from her book, finger still holding her place, as if a friend or family member has just walked into the room. This sense of intimacy was fashionable at the time the portrait was painted, and Earl was known for his “uncommon facility in hitting of the likeness . . . of giving life to the eye, and expression of every feature.”

Vanderlyn drew inspiration for this painting from Plutarch’s Lives, a classical book of biographies of famous Greek and Roman figures. Marius was a military leader and member of the Roman consulate who fell from power during the second century BC. In hopes of gathering an army to conquer Rome, he fled to Carthage in North Africa, where his life was threatened and he was denied asylum. Here, Vanderlyn painted the famous general in his defeat. The ruins suggest doom, decay, and unfulfilled aspirations.

Vanderlyn drew inspiration for this painting from Plutarch’s Lives, a classical book of biographies of famous Greek and Roman figures. Marius was a military leader and member of the Roman consulate who fell from power during the second century BC. In hopes of gathering an army to conquer Rome, he fled to Carthage in North Africa, where his life was threatened and he was denied asylum. Here, Vanderlyn painted the famous general in his defeat. The ruins suggest doom, decay, and unfulfilled aspirations.

The original version of this portrait of George Washington was purchased by Congress in 1832. Like other posthumous portraits of America’s founding fathers, this work both reflected and shaped the cultural forces that transformed Washington into a shared symbol of national identity and unity. Peale’s numerous replicas of this portrait helped to promote America’s ideal of democracy as its true religion—and Washington as its patron saint.

The original version of this portrait of George Washington was purchased by Congress in 1832. Like other posthumous portraits of America’s founding fathers, this work both reflected and shaped the cultural forces that transformed Washington into a shared symbol of national identity and unity. Peale’s numerous replicas of this portrait helped to promote America’s ideal of democracy as its true religion—and Washington as its patron saint.