A brief sketch of Archibald M. Willard and the Spirit of ’76
“The Spirit of ’76” is the best known painting produced by an American, and at the same time one of the most inspiring works of art ever issued in America. It may not conform to any orthodox school of painting or possess the fine points of technique that some critics demand, but as an inspiration of patriotism, I doubt if any painting has had as wide and continuous influence as “The Spirit of ’76.” It has been reproduced in one form and another millions of times, by almost every available process—chromo-lithography, steel-engraving, half-tone, and the various color processes. It is perhaps available in more homes than any other American painting, either framed or in magazines, printed books, school histories, calendars, posters, etc. Many a patriotic parade has included the famous trio of this painting.
Although the painting is so universally known, it is surprising that so little authentic printed material is available either on the artist himself or the story of the creation of this, his most celebrated work.
Archibald M. Willard, the painter of “The Spirit of ’76” was born in Bedford, Ohio, August 22, 1836. His father, the Reverend Samuel Willard, was a Baptist minister and a Vermonter. In the home was grandfather Willard, between whom and the young artist there grew to be a strong bond of understanding and sympathy. The grandfather, a relative of General Stark and a soldier of the Revolutionary War, was one of the Green Mountain boys who was at the surrender of General Burgoyne. Grandfather and grandson spent much time together in rambles through the then picturesque Bedford glens. The rugged surroundings appealed to young Willard’s artistic sense. The old man figured often in the boy’s cartoons. Many a tree was stripped of its outer bark to produce a smooth surface upon which with red chalk and charred embers the young artist produced savages of hideous mien. As frequently happens with young artists, young Willard, did not receive much encouragement from the Willard family, perhaps because every smooth surface of wall, barn-door, board fence, etc., bore evidence to the budding genius.
For varying periods, the family were located at Kent, Salem, Aurora, Mantua, and La Grange. When Willard was a lad of seventeen, the family moved to Wellington, Lorain county, Ohio. At the outbreak of the Civil War, Willard enlisted in the Eighty-sixth Ohio Regiment. While with his regiment at Cumberland Gap, he painted several pictures of the surrounding country. These were photographed and many of the photographs were sold to his comrades.
With the close of the Civil War, Archibald M. Willard, then a sturdy young man, returned to Wellington, together with his close companion, Hugh Mosher. Both had served faithfully and well. Willard had become a non-commissioned officer. He secured employment in the shop of E. S. Tripp, a wheelwright and wagon-maker. The old shop still stands at Wellington. Willard’s original job was to paint the wagons. From the mere painting of the wagons he gradually passed to decorating the wagons artistically, and finally to decorating, with woodland and animal scenes, a number of gaudy circus chariots. He did this work so artistically that “Tripp’s wagons” became known all over that part of the country. There was coöperation between the two men, for apart from the artistic painting, the wagons themselves were sturdily and well-built. Willard’s artistic temperament carried him beyond mere commercial painting. He began painting pictures on the wagon boxes. These were so well executed that they created much comment. He gradually became so elaborate in these, that his employer, Mr. Tripp, had to restrain him. Undoubtedly the interest created by these paintings sold many a wagon for their builder and advertised him in a most unusual way. If any of these Willard-decorated-Tripp-wagons were now available, they would bring a price far in excess of the cost of the wagons themselves.
While working at his trade as wagon painter, Willard devoted all his spare time, energy, and what little money he could save to the study of painting on canvas. He had a very decided sense of humor and nearly all of his earlier subjects are of a humorous character. It was early in the seventies that he painted the first two pictures from which he received compensation. These were the outcome of a request by his employer’s daughter asking him to paint a picture for her. “Pluck number One” was the result. It depicts a dog hitched to a little wagon, a boy driving, and his baby sister in the wagon with him. The dog takes off the road in chase of a rabbit, and the little boy desperately trying to stop him. A wreck follows where the rabbit jumps a log, but the youthful occupant clinging to the lines, and the little sister, escapes unhurt.
In Cleveland at this time was a photographer and art dealer named J. F. Ryder. This painting came to his attention with other early productions by Willard. The astute Ryder quickly recognized the quaint humor and natural ability displayed in these early pictures. Willard thereupon painted a sequel to “Pluck” which he entitled “Pluck number Two.” Mr. Ryder had these two paintings reproduced in color by chromo-lithography. They became two of the most popular pictures of their day. They sold at ten dollars the pair. Many thousands were sold. This proved to be the beginning of a long and profitable business acquaintance and lasting friendship between Willard and Ryder. The proceeds from the sale of these pictures permitted Willard to take an art course in the studio of J. D. Eaton, of New York. This was in 1873.
“Yankee Doodle”
Willard’s original conception for the humorous painting submitted to J. F. Ryder. From this, the “Spirit of ’76,” with its far-reaching inspiration, was finally evolved
Following this, Willard painted among other things a picture which he called “Yankee Doodle.” It was an ordinary sized canvas and delineated a Fourth of July celebration in a country village. An old man in the center beating a drum, with a younger man on each side, the one with a drum, the other with a fife. The surroundings and background were rural. This painting was finished a few months prior to the opening of the Centennial Exposition of 1876 at Philadelphia. When Mr. Ryder saw the picture, he immediately conceived the idea of changing the subject from humorous to patriotic, and Willard concurred in the idea.
Contrary to a rather general belief, “The Spirit of ’76” was not painted for exhibition at the Centennial. At that period there was a general and widespread spirit of patriotism and the days of the Revolutionary War were especially before the people of this country. Mr. Ryder had this prominently in mind and for this reason he suggested to Willard the painting of this picture that reproductions therefrom might be made and a large number of these reproductions sold generally throughout the country and particularly at the Centennial. It was not sent to the Centennial until many of these colored reproductions had been distributed, and a large popular interest in the painting had arisen. It was then, on special request made by those in charge of the Centennial that the original painting itself was sent to the Exposition.
Mr. Ryder suggested that the title be “Yankee Doodle” and under this title “The Spirit of ’76” was at first known. He left the conception and development of the painting to Willard’s imagination.
At that early period after the Civil War, when the training days of the militia system had practically gone to pieces, the various companies were expected to go into camp for three days each year. These days had become a neighborhood picnic. Uniforms were seldom in evidence. There were few guns or swords. There were, however, always the flag, the fife, and the drum. Willard had this idea prominently before him. He slashed into outline various charcoal attempts, but the lines would not fall or respond as he wanted them to. The real idea as to what Yankee Doodle and the men who fifed it and drummed it, stood for, eventually began to thrust itself persistently into the pencil points. Willard daily became more enthused over the patriotic features to be delineated. His early days of marching and fighting under the stars and stripes helped greatly in stirring his patriotic enthusiasm, which later was put upon and filled the completed canvas.
While Willard was engaged in painting this picture, his father, who was posing as his central figure, became critically ill. He did not live to see the finished painting. When Willard was told that his father was soon to pass away, all thoughts of a humorous picture faded from his mind. He decided to paint his father as he really was.
After Willard became acquainted with Mr. Ryder, at Ryder’s suggestion, Willard moved to Cleveland. He used as a studio, a small room on the fourth floor of what used to be the Union National Bank Building located at Euclid Avenue and what was then Hickox Alley, Cleveland, Ohio. From this time on Willard spent almost his entire life in Cleveland.
This little studio had a northern exposure, and he was artist enough, even then, to realize the value of the northern light. His canvas when stretched was taller than himself. His idea had become a big one and nothing but life-size would do for the figures to be used. He followed the general idea of his first picture, “Yankee Doodle or a Fourth of July Celebration” but the spirit of the whole was changed. The old man in the center was Willard’s own father, a tall, straight, powerful man, with flowing white locks yet the figure of a man of thirty, without coat, bare-headed, his white hair blowing in the breeze, his shirt sleeves loose, marching forward with a step as firm and unhesitating as the grim and determined look on his face. The face of the old man shows features which could be kind, but now set like flint in the face of the enemy—filled with the courage of a man who has put character, and thought, and prayer into the music through which he utters his patriotic purpose. Perhaps there is a bit of humor in the figure of the fifer—it could not be otherwise—for it is a portrait of the fifer of Wellington, Hugh Mosher. While depicting his humorous face with its puckered mouth, there is the same air of determination in the figure, the eyes, and the forward step, that so mark the picture of the old man. In these characters one sees the spirit of men who will stand and play until they die, or by their contagious heroism will turn the tide of battle.
As already stated, for the first few years the painting was known under the title of “Yankee Doodle.” While the picture was on exhibition in Boston, Mr. Brainerd, who had charge of the exhibition, suggested changing the title to “Yankee Doodle, or the Spirit of ’76.” This suggestion was made because at that time in Boston there was a public character, a half-wit, who was commonly known about the city as “Yankee Doodle.” In some curious way, the painting and this half-wit were being confused in the public mind. This change of title was adopted. Finally “Yankee Doodle” was dropped entirely and the painting has since been known under the title of “The Spirit of ’76.”
The Fifer
Hugh Mosher
who posed as the fifer. From an original photograph made by William F. Sawtelle of Wellington, Ohio