Browere's Life Masks of Great Americans

by Charles Henry Hart

Stuart, while domiciled with West, drew in the schools of the Royal Academy, attended the lectures of the distinguished William Cruikshank on anatomy, and listened to the discourses delivered by Sir Joshua Reynolds on painting. Later on he painted the portraits of each of these celebrated men, and did enough individual work to indicate the quality of the artistic stuff that was in him, awaiting an opportunity to manifest itself. In 1777, the year Stuart went to West, he made his first exhibition at the Royal Academy. His one contribution is entered in the catalogue of that year merely as “A Portrait.” It is not improbable that this was a portrait of his fellow countryman and early friend, Benjamin Waterhouse, of Cambridge, Massachusetts, who preceded Stuart to London only a short time, and who seems to have remained the artist’s chum during their sojourn in the English capital. A portrait of Doctor Waterhouse, by Stuart, was given by the Doctor’s widow, to the Redwood library, at Newport, together with Stuart’s self-portrait, wearing a large hat, and dated on the back, 1778. These two portraits are evidently of a contemporaneous period.

In 1779 Stuart exhibited, at the Royal Academy, three pictures: “A Young Gentleman,” “A Little Girl,” and “A Head.” In 1781 he showed “A Portrait from Recollection since Death,” and in 1782 made his last exhibition there, sending a “Portrait of an Artist,” and “A Portrait of a Gentleman Skating.” This last picture, although painted so early in his career, has been considered Stuart’s chef-d’œuvre. It is a whole-length portrait of Mr. William Grant, of Congalton, skating in St. James Park. Mr. Grant was the early friend who bore testimony to Stuart’s character, whereby Stuart gained the organist’s position soon after his arrival in London; and the story has come down that Mr. Grant, desiring to help Stuart, determined to sit for his portrait, and went to Stuart’s room for a sitting. The day was crisp and cold, and the conversation, not unnaturally, turned upon skating, a sport much enjoyed by both painter and sitter, each being rarely skilful at it. Finally paints and brushes were put away, and the two friends started forth to skate. Stuart was so struck with the beauty and rhythm of his companion’s motion that he determined to essay a picture of him thus engaged. The original canvas was abandoned and a new one begun, showing Mr. Grant not merely upon skates, but actually skating; and the latent force of the graceful undulating motion has been rendered with a skill and ability that at once put Stuart in the front rank of the great portrait-painters of his day.

The remarkable merit of this picture and the wilful unreasonableness of painters in not signing their works, were curiously shown at the exhibition of “Pictures by the Old Masters,” held at Burlington House, in January of 1878. In the printed catalogue of the collection this picture was attributed to Gainsborough, and attracted and received marked attention. A writer in the “Saturday Review,” speaking of the exhibition, remarks: “Turning to the English school, we may observe a most striking portrait in number 128, in Gallery III. This is set down as ‘Portrait of W. Grant, Esq., of Congalton, skating in St. James Park. Thomas Gainsborough, R. A. (?)’ The query is certainly pertinent, for, while it is difficult to believe that we do not recognize Gainsborough’s hand in the graceful and silvery look of the landscape in the background, it is not easy to reconcile the flesh tones of the portrait itself with any preconceived notion of Gainsborough’s workmanship. The face has a peculiar firmness and decision in drawing, which reminds one rather of Raeburn than of Gainsborough, though we do not mean by this to suggest in any way that Gainsborough wanted decision in either painting or drawing when he chose to exercise it.”

The discussion as to the authorship of this picture waxed warm, the champions of Raeburn, of Romney, and of Shee, contending with those of Gainsborough for the prize, which contention was only set at rest by a grandson of the subject coming out with a card that the picture was by “the great portrait-painter of America, Gilbert Stuart.” And to Stuart it did justly belong.

With the success of this portrait of Mr. Grant, Stuart was launched upon the sea of prosperity, and to himself alone, and not to want of patronage or lack of opportunity, is due his failure to provide against old age or a rainy day. For a while he lived like a lord, in reckless extravagance. Money rolled in upon him, and he spent it lavishly, without a thought for the morrow. His rooms were thronged with sitters, and he received prices for his work second only to those of Reynolds and of Gainsborough. He was on the best footing with his brethren of the brush, and with Gainsborough, his senior by more than a quarter of a century, he painted a whole-length portrait of Henry, Earl of Carnarvon, in his robes, which has been engraved in mezzotinto by William Ward, with the names of the two painters inscribed upon the plate. This alone shows the estimation in which Stuart was held by his contemporaries, and it would be most interesting to know which parts were the work of Stuart and which were due to his famous collaborator.

About this period Boydell was in the midst of the publication of his great Shakespeare gallery, to which the first artists of the day contributed, and Stuart was commissioned by the Alderman, to paint, for the gallery, portraits of the leading painters and engravers who were engaged upon the work. Thus, for Boydell, he painted the superb half-length portraits of his master West, and of the engravers Woollett and Hall, now in the National Portrait Gallery, St. Martin’s Place, London. He painted, also for Boydell, his own portrait, and portraits of Reynolds, Copley, Gainsborough, Ozias Humphrey, Earlom, Facius, Heath, William Sharp, Boydell himself, and several others. Stuart was an intimate friend of John Philip Kemble, and painted his portrait several times; one picture is in the National Portrait Gallery, and another, as Richard III., which has been engraved by Keating, did belong to Sir Henry Halford.

Other prominent sitters to Stuart in London were Hugh, Duke of Northumberland, the Lord Percy of the Battle of Bunker Hill; Admiral Sir John Jervis, afterward Earl St. Vincent; Isaac Barré; Dr. Fothergill, and the Dukes of Manchester and of Leinster. From these names alone it can be seen that Stuart was in touch with persons of the highest consideration, and they were not only his patrons, but his friends. He kept open house, dispensing a princely hospitality. The story has been handed down that he led off with a dinner of forty-two, composed of the choice spirits of the metropolis. He was so charming as a host, and had gathered together such delightful guests, that it was suggested the same party should meet frequently, which proposition Stuart accepted, by arranging that six of them should dine with him each day of the week, without special invitation, the six first arriving to be the guests of the day, until the entire forty-two had again warmed their legs under his mahogany. Such prodigality as this, for a young artist, shows what Stuart’s temperament was, and points as surely to the pauper’s grave as though it was there yawning open before him.

Stuart was five feet ten inches in height, with fine physique, brown hair, a ruddy complexion, and strongly marked features. He dressed with elegance, which was possible at that period, and notwithstanding his biting sarcasm, keen wit, and searching eye, was a great favorite with the fair sex. In his thirty-first year he selected Miss Charlotte Coates, the daughter of a Berkshire physician, for his partner through life, and on May 10, 1786, they were married.

Stuart remained in London until 1788, when he was induced to visit Ireland and open a studio in Dublin. Here he kept up the same style of living he had indulged in before he left London and was in high favor with the Irish, painting some of his most elaborate portraits at this time; but, although fully employed and receiving the highest prices for his pictures, he was always without money. So poor was he, indeed, that when he returned to this country, in 1792, he had not the means to pay for his passage and engaged to paint the portrait of the owner of the ship as its equivalent. He landed in New York towards the close of the year; and although the tradition has been handed down that the cause of his returning to America, was his desire to paint the portrait of Washington, it seems, considering that he waited two years before visiting Philadelphia for the purpose, that the remark of Sir Thomas Lawrence may not have been without foundation. The latter, upon hearing this reason assigned, is related by Leslie to have said: “I knew Stuart well and I believe the real cause of his leaving England was his having become tired of the inside of our prisons.” Whatever the real cause was that brought the artist home, we may congratulate ourselves that he came to live among us at the period that he did, for he was then in the fulness of his powers, and the pictures that he painted between this time and his removal to Boston, in 1805, are the finest productions of his brush on this side of the water.

Gilbert Stuart went to reside in Philadelphia about New Year, 1795. There he painted his famous life portraits of Washington, three in number, but I have written so often and so much on this subject that I shall content myself with this bare mention.[5] There also he painted the portraits of the famous men and of the beautiful women that have helped most to place his name so high up on the pillar of fame. That Stuart was a master in the art of portrait-painting it needs no argument to prove; his works are the only evidence needed, and they establish it beyond appeal. In his portraits the men and women of the past live again. Each individual is here, and it was Stuart’s ability to portray the individual that was his greatest power. Each face looks at you and fain would speak, while the brilliant and animated coloring makes one forgetful of the past. The “Encyclopædia Britannica,” a forum beyond dispute, says: “Stuart was pre-eminent as a colourist, and his place, judged by the highest canons in art, is unquestionably among the few recognized masters of portraiture.”