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The Great House of Benjamin West: Family, Workshop, and National Identity in Late Georgian England

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The Great House of Benjamin West: Family, Workshop, and National Identity in Late Georgian England ABSTRACT Title of Document: THE GREAT HOUSE OF BENJAMIN WEST: FAMILY, WORKSHOP, AND NATIONAL IDENTITY IN LATE GEORGIAN ENGLAND Abram Fox, Doctor of Philosophy, 2014 Directed By: Professor William L. Pressly, Department of Art History and Archaeology Anglo-American painter Benjamin West (1738-1820) holds a unique position in the history of Western art. Active during the foundational periods of not one, but two, national schools of art to which he could rightfully claim membership, West recognized his inimitable position in the development of English and American art and sought to position himself at the forefront of each nation. This dissertation examines his fluid national and artistic identities over the course of his instructional relationships with his American students, and the shifting personal and professional goals harbored by each party. While scholars have acknowledged the relation of West’s pedagogical practice to his identity as an artist, this study presents an organic account of the relationships between teacher and students as an embodiment of West’s ongoing and unprecedented attempts at fame, fortune, and legacy. This legacy was central to Benjamin West’s identity as an artist. His professional career was dedicated to the self-aggrandizement of his identities as an (exotic) American, a prolific painter of high-minded scenes of history and religion, and the head of a workshop teeming with artists who shared his heritage, though not always his aesthetic inclinations. Over his career he cultivated a reputation as a welcoming instructor, always willing to give advice or lessons to any artist who approached him. This was not solely an act of altruism. Instead, it was the cornerstone of his construction of a proverbial House of West, a workshop-family whose members and their works would reflect back on the genius of the master, just as strongly as his own oeuvre. Through the examination of four case studies of his instruction of American students – that of Charles Willson Peale, Gilbert Stuart, John Trumbull, and a circle of students led by Washington Allston – this study integrates Benjamin West’s teaching practice with his career aspirations, positioning his pedagogy within the greater framework of his self-presentation. In doing so, it presents a history painter engrossed in the promulgation of his name throughout history, through his own artistic output and those of his children and students, as the progenitor of American artists working in the European tradition. THE GREAT HOUSE OF BENJAMIN WEST: FAMILY, WORKSHOP, AND IDENTITY IN LATE GEORGIAN ENGLAND By Abram Jacob Fox Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2014 Advisory Committee: Professor William L. Pressly, Chair Professor Renée Ater Professor June Hargrove Professor Gregory A. Staley Professor Marjorie S. Venit © Copyright by Abram Jacob Fox 2014 Disclaimer The dissertation document that follows has had referenced material removed in respect for the owner’s copyright. A complete version of this document, which includes said referenced material, resides in the University of Maryland, College Park’s library collection. ii Dedication To Mom, Dad, and Sara. iii Acknowledgments In the course of my work I have relied on the steadfast support of a number of people, none more central than my advisor, Emeritus Professor William L. Pressly. It was Professor Pressly’s undergraduate seminar on British painting in the spring of 2004 that cemented my desire to become an art historian, and he has guided me in every step of my studies since then. He has always encouraged the pursuit of my own scholarly interests, even those far afield from British art. He has been my counselor, editor, coach, and strongest proponent in the discipline. Without his direction I could never have reached this point. Mentorship from Professor Pressly comes with a very welcome bonus: mentorship from his wife, Nancy Pressly, as well. She has supported me with equal aplomb, and her own research has been influential to this study. She and Professor Pressly often welcomed me into their home, making me, by the eighteenth- and twenty-first-century conception of the idea, a member of their family. I also owe a great deal of thanks to the remainder of my dissertation committee: Professors Marjorie Venit, June Hargrove, Renée Ater, and Gregory Staley. It was also Professor Venit’s undergraduate class that inspired my undergraduate dreams of art history, and she remains my most important teaching mentor. Her office was also a second home for me for many years, and her various encouragement and criticism have made me a better writer and a better teacher. Professors Hargrove, Ater, and Staley have demonstrated supernatural patience with me through this dissertation process, and I am indebted for the knowledge they have bestowed upon me and for their support and assistance in my writing and research. iv There are several other members of the University of Maryland Department of Art History and Archaeology family who have played central roles in the course of my study. Deborah Down has assisted me with more paperwork, scheduling, and other forms of bureaucratic procedure than I care to imagine, always with a positive outlook and words of encouragement. Without her intervention on multiple occasions, I may never have reached this point in my studies, and for that I am eternally grateful. Ania Waller and Theresa Morse have also always looked out for me, providing assistance whenever needed, especially helping me get out of troublesome situations of my own making. Lauree Sails and Quint Gregory in the Michelle Smith Collaboratory for Visual Culture have always encouraged me to push the boundaries of art history, and to think about the impact of emerging technology and pedagogy on my own work. The Collaboratory is a welcoming space for collaboration and conversation, and plays a major role in the department’s positive environment. This atmosphere extended to my fellow graduate students, who have made the experience of graduate studies an enjoyable one. In particular, I owe endless gratitude to Sarah Cantor, Breanne Robertson Chen, and Ginny Treanor for serving as models of success and providing mentorship during the completion of my own studies, and to Suzy Eschelbacher and Lara Langer for the mutual inspiration and commiseration about our own working processes. Amanda Visconti provided essential advice about digital humanities models which were central to informing my reconsideration of West’s workshop. Lastly, I owe many thanks to Katie Wood Kirchhoff. Normally the discovery of another doctoral candidate writing a dissertation on the same artist is a cause for concern. Instead, Katie has been a constant friend and source of v encouragement as we have shared ideas and spurred each other’s research, and I look forward to continuing to do so in the years to come. I would be remiss in not acknowledging the organizations that have supported me, through grants or other means, including: Honors Humanities; the Center for Teaching Excellence at the University of Maryland; the Walters Art Museum; the College of Arts and Humanities at the University of Maryland; the Popular Culture Association/American Culture Association Comics and Comics Art Area; the Kress Foundation; the Lewis Walpole Library; the Archives of American Art; Historians of British Art; Historians of Eighteenth-Century Art and Architecture; and the Classical Association of Atlantic States. My studies could not have happened without the George Levitine Fellowship which supported my first four years as a graduate student. I had the pleasure to befriend Eda Levitine, and I regret that she is no longer here to participate in this joyous occasion. I could not have completed this process without the support of Dr. Marcy Marinelli, whose encouragement inspired me to keep working and reminded me that I can complete any task imaginable. One of Benjamin West’s central beliefs about artistic education was that advice should be given widely and freely, and that part of the job of the professional artist was to give back to those who followed in his footsteps. To that end, I have greatly benefited from scholars of all disciplines and institutions who have given their time and advice to me freely. I am indebted to their friendly assistance. This dissertation is dedicated to my parents and to my wife. Without their support, patience, and charity, none of this could have been possible. My father is no longer here to celebrate with me, but I know that he would have been very proud. vi Table of Contents Disclaimer .................................................................................................................... ii Dedication ................................................................................................................... iii Acknowledgments ....................................................................................................... iv Table of Contents ....................................................................................................... vii List of Figures ............................................................................................................. ix Introduction: Benjamin West and the Arts in Eighteenth-Century America ................ 1 Matthew Pratt’s The American School ....................................................................
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