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General Theodore Kosciusko, 1797 comparison to the dark interior. The window and its light provide a contrast Benjamin West (American, 1738-1820) to the drabness of the room—the Oil on panel | 12 3/8 x 17 7/16 in. (31.5 x 44.3 cm.) window is heavily curtained with a red cloth, pushed aside to allow in the light. The lighter colors—the reds and the Compare this painting VISUAL ANALYSIS whites—are echoed in the carpet of the to other portraits by The painting depicts an interior scene room and in the red and white pillows West, or from the with a man reclining on a couch, his at the foot of the couch. Revolutionary Era. How papers and belongings strewn about does West create a more him. The room is very dark: the walls The subject is lying prostrate on the intimate portrait of his are covered with dark green-blue and couch—he is on his side, with one arm subject? green stripes, and the couch is also tucked under him as support, and the a darker green, accented with white other hand touching his forehead. The which gives it the look of sea foam. man is dressed in dark digniﬁ ed clothes. The only source of light in the room is He looks fairly young, with curled brown a window in the back right corner of hair and a beardless face, and he wears a the scene. The window frames the view strange smile that seems more tired than of a distant cityscape—the sky is blue happy. Different items lie haphazardly and clear, and the scene is vibrant in around him—on a table there is a blue

www.oberlin.edu/amam Copyright 2008 © Oberlin College Allen Memorial Art Museum BW: 1 What effect do the bag and a rapier, a crutch is leaning CULTURAL AND HISTORICAL contrasts in lighting against the wall behind him, and there is IMPORTANCE have on the mood disarray of papers and writing utensils. Thaddeus Kosciusko was Major-General of the piece and the in the Polish army and moved to America interpretation of the FUNCTION/FORM & STYLE to escape political turmoil in his own character of the fi gure? This painting is different from others country. He offered his services to that West painted. He was famous George Washington’s army, and served as for his large-scale, romanticized an engineer and an Offi cer of the Line. What are some ways interpretations of history, in which he After the victory of American forces, that West could have depicted grandiose and epic heroes in he returned to Poland and fought in “romanticized” the story the most poignant moments of their an uprising against Austria. There, he of General Kosciusko? lives. This painting, however, strays was severely wounded and jailed in a away from heroic Romanticism and Russian prison for two years without presents the General with a more medical attention. This painting was In what ways would it realistic persona. It was also painted done while Kosciusko was en route back have been diffi cult for on a much smaller scale, which reduces to America, where he expected to fi nd West to be in England, the impact of the painting as an object peace, far away from the tumultuous working for the King of awe and wonder. These features political environment in Europe. The during the Revolutionary suggest that West painted this portrait setting of this painting is his room in the period? for his own pleasure, as a study of a Sablonière Hotel in London, with a view person in whom he was interested. of St. Paul’s Cathedral. The different What issues surround the The more modest setting could also objects seen positioned around the creation of art during a have been motivated by respect for room indicate some important aspects General Kosciusko’s condition. He had of Kosciusko’s life. The sword on the time of turmoil? What been severely wounded in battle and it smaller end table was a gift from the responsibilities does an would have been inappropriate for West Whig Club of London celebrating his artist have? to glorify the things that had harmed efforts in the war and the hat was Kosciusko. The painting hung in West’s characteristic of those worn by Polish home until several years after his death. cavalry offi cers. Also shown is the crutch

VOCABULARY

Cityscape: A view of a city, especially a large urban center.

Neoclassical: A trend or movement prevailing in Europe, America, and various European colonies during the late 18th and 19th centuries. It is characterized by the introduction and widespread use of Greek orders and decorative motifs, the subordination of detail to simple, strongly geometric overall compositions, the presence of light colors or shades, frequent shallowness of relief in ornamental treatment of facades, and the absence of textural effects.

Raphael: An Italian painter (1483-1520) whose works, including religious subjects, portraits, and frescoes, exemplify the ideals of the High Renaissance.

Romanticism: An artistic and intellectual movement originating in Europe in the late 18th century and characterized by a heightened interest in nature, emphasis on the individual’s expression of emotion and imagination, departure from the attitudes and forms of classicism, and rebellion against established social rules and conventions.

www.oberlin.edu/amam Copyright 2008 © Oberlin College Allen Memorial Art Museum BW: 2 OHIO ACADEMIC Kosciusko needed after his injuries, along Benjamin West needed to allow himself CONTENT STANDARDS with some sketchbooks and papers. some fl exibility—he painted portraits of British offi cers along with heroes Study of this work and its This painting relates to not-often from the former American colonies. related classroom activities discussed aspects of the Revolutionary This painting depicts West’s artistic meets some or all of the War—those Americans who were abroad, versatility, in that he could paint following K-12 benchmarks: but still associated with the war in both Neoclassical, overtly dramatic some ways, and those participants in depictions of moments in history, and Language Arts: the war who had not lived in America then paint a portrait such as this, on Acquisition of for extended periods of time, such as a much smaller scale with a greater Vocabulary; Concept of Kosciusko. As an American working in adherence to realism. Finally, this Print, Comprehension England during the American Revolution, painting showcases the openness of Strategies and Self- Monitoring Strategies; Information, Technical, CURRICULUM CONNECTIONS and Persuasive Text; Research; LANGUAGE ARTS: Without discussing the painting in advance, have students Communications: Oral write a vignette about General Kosciusko. Afterward, read the actual biography and Visual about Kosciusko, and have a discussion about why the students chose to write about the General as they did. (Middle and High School) Mathematics: Measurement; Geometry MATHEMATICS: Painters use different techniques within their paintings to let and Spatial Sense; the viewer know how far away things are from one another. What distance does Mathematical Processes the scene outside the window seem to be from the hotel room? What would be a reasonable unit of distance to measure that distance (in the standard system Sciences: Physical and the metric system)? What if you wanted to convert that distance to inches/ Sciences; Science and centimeters? (Elementary School) Technology SCIENCE: While he was growing up in colonial America, legend has it that Native Social Studies: Americans taught West how to mix colors from materials in nature. Go on a History; People in nature walk to fi nd things that could be used to make different pigments for Societies; Geography; painting—blackberries, currents, dandelions, and mud are all examples. Study Government; Economics; how Native Americans or early settlers used things from nature to color their Citizen Rights and objects. For example, early settlers would make dyes for wool and wood by Responsibilities; Skills boiling black walnuts to create a dark brown color. Have students mix colors and Methods with different classrooms materials, such as paint, overhead transparencies, markers, etc. (Elementary School) Visual Arts: Historical, Cultural, and Social Start a unit on the visual color spectrum and the color wheel. Why would West Contexts; Analyzing and choose to paint red curtains and a blue-green room? How does West use white Responding; Valuing light in his painting? (Middle and High School) the Arts/Aesthetic Refl ection; Connections, SOCIAL STUDIES: Study the biographies of both Benjamin West and General Relationships, and Kosciusko—what was their involvement in the Revolutionary movement or the Applications War, if any? (All ages)

VISUAL ARTS: Draw portraits of other historic fi gures that served in the American Revolution. West painted important works belonging to Kosciusko, which symbolized events in Kosciusko’s life and different parts of his personality. Include personal items in the work, and depict the fi gures in a more informal, intimate way, as West has done here. Compare these works to some idealized portraits of Revolutionary fi gures. (All ages)

www.oberlin.edu/amam Copyright 2008 © Oberlin College Allen Memorial Art Museum BW: 3 West’s philosophy, he could paint enough money to charter a place on for both the King of England and for a boat headed to Rome. From there, veterans of the Revolutionary War, and West moved to England, where he was the uniform demand for his work on taken in by Joshua Reynolds, the ﬁ rst both sides of the Atlantic. president of the Royal Academy. It was at this point that he met and began ARTIST BIOGRAPHY to paint for King George III. In 1768, Benjamin West was the tenth child of he became a founding member of a Pennsylvania housekeeper. Though he the Royal Academy, and soon became had no formal education, legend has England’s Chief History Painter, using it that he received lessons from the both his Quaker upbringing and his Native Americans on how to grind red exposure to classic European works and yellow pigments from elements for inspiration of content and style. in nature for use in painting. At the Because of his ornate style, West was age of 18, West went to the College sometimes referred to as the “English of Philadelphia to study art. There, Raphael.” Despite his friendship he met John Wollaston, a painter who with King George III, West painted would inﬂ uence West’s technique for many portraits of Americans after some years thereafter. When in his independence was won, in addition twenties, feeling that he had no future to his regular European clientele. He in America and that his current path continued to work in England until his was leading him nowhere, he earned death in 1820.