PROFILESmithsonian National Portrait Gallery News Fall 2004 From the DIRECTOR

We won’t win any points for originality by making our fall issue of Profile mostly about the American presidency. But in this case, that’s a good thing. Appropri- ately in an election year, our society as a whole—and particularly those institu- tions devoted to education—should be focusing on an office that continues to grow in importance for our nation and for the world. We need to know as much as possible about what to expect from the individual who will occupy the Oval Office, and also how those expectations have changed over the years. I have written elsewhere in this issue about America’s Presidents, but here I’d like to make a special point about the visual record of the presidency that is the Portrait Gallery’s contribution to our national understanding. The Portrait Gallery has about 1,200 images that refer to the American presidency, and these paintings, sculptures, prints, drawings, and photographs are at the heart of our collection. In our Hall of Presidents, we literally look these Presidents in the eye and take their measure at moments when they had the greatest effect on our life as a people. But the Portrait Gallery’s curators and historians have also taken care to assemble images that make us aware of not only the process through which we choose Presidents—campaigns and elections—but also the pro- cess through which we evaluate them once in office. A President’s formal portrait tells us a great deal about the symbolic place the office holds, as well as something of the individual’s look and personality. Yet the repre- sentation of the political process is what really provides a picture of who we are as a democratic people: energetic, rambunctious, idealistic, suspi- cious, disappointed on occasion, but in the end hopeful, always hopeful, about the next candidate, the next election, the next change. These are the images provided us by the print-makers, the photographers, the caricatur- ists, the poster-makers, the masters of opinion and opinion-making. And this is why to the roll call of honor of the formal portraitists of the presi- dency—such as Gilbert Stuart, G.P.A. Healy, and Douglas Chandor—we add the vital, biting visual wit of Thomas Nast, Herblock, Edward Sorel, and Oliphant. The American presidency, like the nation it embodies, is both ideal and all too human. It is the artists who constantly remind us of this duality, and for that the National Portrait Gallery salutes them in this presidential season.

2 PROFILE Contents Vol. 5. No. 3. Fall 2004

4 13 Time Covers the Retratos Candidates 2,000 Years of Latin American Portraits 6 The Editorial Cartoon 14 as Portraiture Paul Peck Presidential Initiative 8 Cover: Presidential Campaigns New Acquisitions 15 by Edward Sorel, 1996, gift of NPG Schedules Alan Fern 10 The American 16 Presidents Portrait Puzzlers In the next issue 12 • The glamour and mystique of Garbo Gilbert Stuart See other The Exhibition exhibition-related web pages: • The Scottsboro boys www.npg.si.edu !

Marc Pachter Commission Director Daniel Okrent, Chair PROFILE Carolyn Carr Anthony C. Beilenson, Vice Chair Deputy Director and Chief Curator Sally G. Chubb Eloise Baden Jeannine Smith Clark Associate Director for Administration Joan Kent Dillon Ella Milbank Foshay Editor National Portrait Gallery Manuel L. Ibáñez Carol Wyrick Jill Krementz Smithsonian Institution Office of Education Jon B. Lovelace 750 Ninth Street, NW Associate Editor Joan A. Mondale P.O. Box 37012, MRC 973 Sidney Hart Robert B. Morgan Washington, DC 20013-7012 Department of History Roger Mudd Constance Berry Newman Phone: (202) 275-1738 Editorial Committee V. Thanh Nguyen Fax: (202) 275-1887 Dru Dowdy Barbara Novak E-mail: [email protected] Office of Publications R. Theodore Steinbock Website: www.npg.si.edu Pie Friendly Jack H. Watson Jr. Office of External Affairs Readers’ comments are welcome. Marianne Gurley Ex Officio Members Office of Photographic Services Earl A. Powell III Ellen G. Miles To receive Profile, please send your William H. Rehnquist Department of Painting and Sculpture Lawrence M. Small name, home address, and e-mail address Ann M. Shumard (if applicable) to [email protected] or Department of Photographs Honorary Commissioners the post office box listed above. Editorial Support Julie Harris Jessica Hoffman David Levering Lewis Unless otherwise noted, all images are from Program Assistant Bette Bao Lord the National Portrait Gallery collection. Fred W. Smith ©2004 Smithsonian Institution. Design All rights reserved. Leslie London, London Graphics

3 Time Covers the Candidates

Sidney Hart Senior Historian and Editor of the Peale Family Papers At the start of the presidential race in 1952, pundits gave the soft-spoken man with a mild southern drawl and coonskin cap little chance to win for the Democrats in the New Hamp- shire primary. Estes Kefauver, the junior senator from Tennes- see, had become a household name the previous year during the televised hearings of his Estes Kefauver by Boris Chaliapin, special committee investigat- 1952, gift of Time magazine Thomas Eagleton and George ing organized crime. But Kefau- McGovern by Ken Regan, 1972, ver had entered the presidential gift of Time magazine primaries with no professional organization and little money. And if President Truman decided to again seek the cratic urban machines, southern delegates, Harry Democratic nomination, it was assumed to be his S. Truman, and even many party liberals denied for the asking. Nonetheless, Kefauver beat Truman him the nomination. decisively and won all twelve delegates. To New The Democratic presidential nominees for 1972, Hampshire voters, Kefauver was the anti-politi- George McGovern and Thomas Eagleton, sought cian, coming out of the Tennessee hills and prevail- to convey a sense of a new beginning to American ing over the state Democratic machine in his 1948 politics. After the party’s bitter divisiveness in the run for the Senate. When accused by the machine 1968 election, a reform commission under McGov- leader, Memphis mayor Edward H. Crump, of ern successfully took much of the power from the being a radical and as deceptive as a pet raccoon, Democrats’ “old guard” and gave it to younger Kefauver replied, “I might be a pet ’coon, but I members, women, and minorities. The number of ain’t Boss Crump’s pet ’coon.” The coonskin cap young voters had vastly increased the previous year with which Kefauver appeared on the Time cover with the passage of the Twenty-Sixth Amendment, of March 24, 1952, would become a fixture. which lowered the voting age to eighteen. McGov- In New Hampshire, Kefauver fully developed ern’s platform was aimed at those younger voters, his image of a nonprofessional politician. Report- and the candidate pledged an immediate end to ers noted that voters were disarmed by his earnest the Vietnam War, huge cuts in defense—with the demeanor as he shook their hands and introduced money going to social spending—and higher taxes himself, a plainspoken man of strong facial fea- for the wealthy. tures, with thin lips that broke “easily into a wide Running against a popular incumbent, McGov- grin.” He had few friends in the Senate and was ern contrasted himself with the politically savvy regarded as one of its dullest speakers, but voters Richard Nixon (branded “Tricky Dick” by Demo- saw those qualities as indicators of his sincerity and crats) as a man of moral conviction, honesty, and independence. Awkward episodes during the cam- integrity. Ten days after the Democratic conven- paign, such as wearing two right shoes and look- tion in Miami, these very qualities would be put ing, as his wife described it, as if he were walking to the test. Stories had begun to circulate that around the corner all the time, only reinforced this Eagleton had been hospitalized and had received popular perception. It did not matter that Kefauver electric-shock treatments for depression. At first, voted the straight Democratic line in the Senate; McGovern announced his strong support for the voters saw him as a maverick up against pro- Eagleton and promised to keep him on the ticket. fessionals. Shortly after, however, he bowed to political pres- Kefauver came to the convention with the larg- sure and replaced Eagleton with Sargent Shriver. est number of committed delegates and was the The character issue was gone, and the McGovern most popular Democrat in public opinion polls. campaign never achieved momentum. The Eagle- But the very independence he sought to convey to ton and McGovern Time cover of July 24, 1972, the public alienated the party regulars. The Demo- was as fleeting as their ticket.

4 Time Covers the Candidates was Reagan, and not the more experienced Bush, who could best manage himself and the country in times of peril. Even those who are not fans of President Bill Clinton would agree that he is a politi- cal figure of almost irresistible charm and magnetism. It is easy to forget, however, that this did not translate into big electoral victories; in both elections he won the presidency with less than 50 percent of the vote. During his reelection campaign Bill Clinton and Dick Morris by Ste- in September 1996, Clinton led Ronald Reagan by Burt Silverman, phen Kroninger, 1996, gift of Time in the polls by nearly as much 1980, gift of Time magazine magazine as Ronald Reagan did over Walter Mondale in 1984. But In early March 1980, Gordon Nelson, the chair- he aroused far less enthusiasm and won far less man of the Republican Party in Massachusetts, affection than either Reagan or Dwight D. Eisen- confidently asserted that if Ronald Reagan won hower, two post–World War II Presidents who a major victory in the upcoming New Hamp- did win reelection. Americans told pollsters that shire primary, then Nelson was the Easter Bunny. they would vote for Clinton even though they did George H. W. Bush had trounced Reagan in Iowa, not approve of his character, but most gave him and even Reagan’s followers were beginning to credit for his earnestness, his political abilities, and think that the sixty-nine-year-old two-time loser his facility to expound, off the cuff, on even the for the Republican presidential nomination might smallest details of public policy. In predicting an no longer have what it took to win. But Reagan easy Clinton victory over Senator Robert Dole in campaigned vigorously in New Hampshire, tack- November 1996, pundits pointed to the excellent ling the long, arduous days with no apparent dimi- state of the economy; to an apparent acceptance nution in energy or enthusiasm and looking every by voters that all politicians were flawed; to the inch the movie star when he graced Time’s cover electorate’s preference for gridlock (Congress was on March 10, 1980. He clobbered Bush by more expected to remain Republican); to Dole’s weak- than a two to one margin. ness as a candidate; and, perhaps most significantly, The January 29 debate in Nashua may have to the presence of Dick Morris, Clinton’s chief been the pivotal event in his victory. Reagan had campaign guru. Clinton had called for help from agreed to pay the $3,500 cost of holding the debate Morris in 1994, after the Democrats’ devastating between him and Bush after the Federal Election defeat in the congressional elections. For Republi- Commission ruled that the Nashua Telegraph cans, this meant that Morris would re-create the could not sponsor it. On the day of the debate, candidate’s image through “triangulation”: getting Reagan, reacting to complaints about excluding Clinton reelected by promoting Republican poli- the other four candidates, invited them to the event. cies such as welfare reform and a balanced budget. When Bush entered the hall and saw Reagan with For Democrats, Morris provided a plan for Clinton the other candidates, he refused to participate. At to “capture the center,” to move—as almost all this point, moderator Jon Breen, the Telegraph’s presidential candidates do—to the center of the editor, stated that the debate would revert back to political spectrum. Morris has been depicted as a the two-man format. When Reagan grabbed the “gleeful genius” who has worked indiscriminately microphone to complain, Breen ordered the power for both Republicans and Democrats and who has cut off. Reagan then shouted defiantly at Breen, “I “a blind spot on character.” Interestingly, Time’s am paying for this microphone!” Bush looked con- editors rejected a cover treatment by artist Stephen fused, and responded meekly that since the Tele- Kroninger that had Morris appearing to pop out graph had invited him to the debate, he would play of the top of Clinton’s head. Whatever one’s view, by their rules. The whole chaotic, absurd scene there is no doubt that Clinton and Morris made demonstrated to New Hampshire voters that it an effective political team.

Time Covers the Candidates 5 The Editorial Cartoon as Portraiture

Wendy Wick Reaves are minimal. But fortunately for Curator of Prints and the art of satire, each President Drawings fails to live up to his expectations, “I owe America so much,” Austra- and the caricature evolves. John- signs. Carter’s dialogue as Aesop’s lian-born cartoonist Pat Oliphant son sags and ages; Bush weak- ant captures the whining of an once stated, “for providing such ens; Carter shrinks. Nixon’s insignificant player: “’Aw, jeez, a beautiful and varied canvas bloated jowls and squinty eyes Jody, do I have to be the ant? I as a backdrop and then peo- convey corruption even without mean, I understand the motives of pling the foreground with a rich, the pirate’s getup. the play, but playing a goddam almost overabundance of char- Small symbolic accessories can ant . . . ? ?” The caption for latans of all shades—wonderful wield increasing power in repeti- Shopping for a Special Prosecutor Barnum politicians, . . . shift- tion. How do intelligent leaders sets a chillingly dictatorial tone less bureaucrats, and assorted develop a reputation for being for Nixon as he searches a pet lickspittles, greedmongers, and dumb? How do we come to per- shop for a polite parrot who common thieves.” Oliphant’s ceive strong, athletic men as bum- will “speak when he’s spoken words remind us that portrai- bling or weak? Surely Oliphant’s to.” The title of The Emperor’s ture encompasses the irreverent permanent Band-aid on President New Clothes suggests the theme along with the dignified. The Ford’s forehead or the ever-pres- of Bush’s unfulfilled campaign National Portrait Gallery’s col- ent purse accompanying Bush are promises, but Oliphant spells lection of Oliphant’s drawings, as influential as TV coverage of it out by tagging the hangers covering twenty-five years of the a ski-slope tumble or journalists’ “Space,” “Acid Rain,” “Drugs,” presidency from Lyndon Johnson discussion of the “wimp” factor. etc. Incidental comments extend to George H. W. Bush, invites us When it comes to the analo- the humor. Oliphant’s Punk to consider the editorial cartoon gous imagery of the cartoon, the penguin, a tiny, outrageous as a form of portraiture. Oliphant bemoans the present onsite observer, proves useful The political cartoonist both ignorance about once-usable lit- for such purposes. In the Nixon reflects and influences public erary sources. “No more ‘Alas, cartoon, Punk turns to a vulture, opinion about a prominent figure. poor Yorick!,’” he complains, saying, “You’re needed up front!” But the portrayal that emerges “No more ravens quothing Confronting the naked Bush, from successive cartoons gathers ‘Nevermore!’. . . Send not to see Punk comments, “You need a tie strength as a cumulative form of for whom the bell tolls.” None- to go with that?” persuasion. Our first response theless, Oliphant’s imagery— Oliphant, a Pulitzer Prize to a cartoon is assessing how capitalizing on our responses winner, can be a brilliantly angry the artist has editorialized on to the cowboy, the movie star, satirist. But when artists use a a newsworthy issue. For exam- Popeye, surrogate motherhood, highly charged approach, we are ple, A Neutral Ship in a Neutral or homelessness—seldom misses conscious of the confrontation. Sea seems to be more “about” its mark. The Cardboard Messiah More commonly, they manipu- a neutral site for the Vietnam transformed Reagan, during his late us with less-emotional humor, peace talks than about Lyndon unsuccessful 1976 presidential and we absorb on a subconscious Johnson. Frequently, it is not a campaign, into a shallow, mov- level their underlying messages. single cartoon about a President ieland cutout. In The Goddam Thus, as a form of portraiture, that influences us as much as Ant, Carter morphs into Aesop’s editorial cartoons in the aggre- the building up over time of a famous ant versus Ted Kennedy’s gate can be more subtly influen- memorable, amusingly damning fiddling grasshopper. Like the tial than our laughter suggests. characterization. distortions of the caricature, the Lest we become—as historians or All the elements of a cartoon allusions become more negative as citizens—too respectful of our affect that cumulative portrait. as presidential terms progress. leaders in high office, a glance at Oliphant habitually hones a dis- Images of power—a doctor, Oliphant’s shameless charlatans tinctive, repeatable caricature athlete, or ship’s captain—are can provide a bracing corrective. of each incoming President. His replaced by imagery of insanity, regular distortion of Johnson, diminution, or corruption in a Further reading: Robert for example, featured a large Mad Hatter, an ant, or a pirate. Philippe, Political Graphics nose and a protruding, double- An able wordsmith, Oliphant (New York: Abbeville, 1982); knobbed chin. In the honeymoon aims additional satiric thrusts Wendy Wick Reaves, Oliphant’s Pres- idents (Kansas City: Andrews and after an election, exaggerations through captions, titles, and McMeel, 1990).

6 The Editorial Cartoon as Portraiture Neutral Ship in a Neutral Sea, 1968 Shopping for a Special Prosecutor, 1973 Stalemated on finding a “neutral” site for the Vietnam Having finally succeeded in firing special prosecutor peace talks, Lyndon Johnson was also frustrated by pro- Archibald Cox, Richard Nixon hoped for the appoint- tracted negotiations for the release of the USS Pueblo, ment of a successor whom he could control. which had been seized by North Korea.

Pardon Me, 1976 The Goddam Ant, 1979 As the election loomed, Gerald Ford had to account for Cast here as a busy little ant versus Senator Ted Kennedy’s such controversial actions as pardoning Richard Nixon frivolous grasshopper, Jimmy Carter shrinks into and defending Agriculture Secretary Earl Butz after he insignificance in a presidential role scripted by his press told an offensive racial joke. secretary, Jody Powell.

The Cardboard Messiah, 1976 The Emperor’s New Clothes, 1989 Narrowly losing the Republican nomination to Gerald Several months into his presidency, George H. W. Bush Ford in 1976, Ronald Reagan already seemed larger- seemed to have nothing to show the public but bare than-life to some and shallower than a cardboard cutout campaign promises. to others.

All images are the gift of Susan Corn Conway in honor of Alan Fern, on behalf of Patrick Oliphant

The Editorial Cartoon as Portraiture 7 New Acquisitions

Jessica Hoffman, Program Assistant

Joshua L. Chamberlain (1818 –1914) Albumen silver print by an unidentified artist, c. 1866 Joshua Chamberlain is seen in his role as a distinguished Civil War soldier in this cabinet card, which was a popular photographic format in the post–Civil War era. After leaving a university teaching post to answer Abraham Lincoln’s call for more troops in 1862, Chamberlain distinguished himself as a brave and resourceful officer, eventually earning a promotion to major general. He was also awarded a Congressional Medal of Honor for his heroism at Gettysburg. After the war he served four terms as governor of Maine and then became president of Bowdoin College.

Carolina Herrera (born 1939) Gelatin silver print by Robert Mapplethorpe, 1979 In this striking image of Venezuelan-born Carolina Herrera, photographer Robert Mapplethorpe captured the elegance and grace that would characterize Herrera’s work as a fashion designer. After many years of being recognized internationally for her fashion sense, Herrera was able to parlay that refined style into a successful business venture in a difficult and competitive field. She launched her first collection in 1981. In her more than twenty years as a designer, Herrera has become a well-known name in fashion, garnering a distinguished list of clients while expanding her enterprise to encompass multiple clothing lines, accessories, and fragrances. 1979 The Robert Mapplethorpe Foundation, Inc. ©

Fats Domino (born 1928) Three-dimensional color lithograph by Red Grooms, 1984 In the 1950s Fats Domino played an important role in the transfor- mative cultural crossover between the African American rhythm-and- blues tradition and mainstream pop music that gave birth to rock and roll. Here, Red Grooms—in his characteristic playful and witty style—has created a three-dimensional representation of Domino using paper that has been printed, folded, cut out, and glued. The vibrant portrait particularly suits the depiction of a figure who has secured a place in the history of twentieth-century American pop culture with such hits as “Ain’t That a Shame,” “Blueberry Hill,” and “I’m Walkin.’” Red Grooms/Artists Rights Society (ARS), NY (ARS), Society Rights Grooms/Artists Red ©

8 New Acquisitions New Acquisitions

Faith Ringgold (born 1930) Book and quilt, both with hand-painted etching and pochoir borders, self-portrait, 1998 Faith Ringgold has been an innovator throughout her artistic career. Influenced by the traditional arts of both Africa and Tibet, she often incorporates textiles into her work to create soft sculptures, masks, and quilts. Her art has consistently provided commentaries on the sociocultural status of women and African Americans. In this self- portrait, Ringgold creates a remarkable and expressive portrayal that conveys an image of the artist with great sensibility yet defies conven- tional methods of representation. She illustrates her life by sharing formative moments in this limited-edition artist’s book, Seven Pas- sages to a Flight, and its accompanying hand-stenciled quilt. ©Faith Ringgold, 1998

Tom Wolfe (born 1931) Oil on canvas by Everett Raymond Kinstler, 2000, gift of Sheila Wolfe Writer Tom Wolfe has been portraying America for more than forty years, constructing animated and astute observations that have illus- trated modern times. His works include The Electric Kool-Aid Acid Test, which typifies the hippie culture of the 1960s. Known for his satirical cultural commentary, Wolfe has also been successful as a novelist, creating an incisive characterization of the “Me Decade” culture of the 1980s in his first work of fiction, The Bonfire of the Vanities. In this painting, portraitist Ray Kinstler, a friend of Wolfe’s, presents the writer in confident repose, nattily clad in the white suit that is an essential expression of his lively persona. 2002 Everett Raymond Kinstler ©

Mia Hamm (born 1972) Gelatin silver print by Rick Chapman, 2001 (printed 2002), gift of Rick Chapman and ESPN Mia Hamm is the world’s all-time leading scorer in international soccer play. Her career exemplifies the surge in women’s athletics brought on by the passage of Title IX, which banned sex discrimina- tion in schools. Hamm, a member of the U.S. team that won the first- ever Women’s World Cup tournament, also captured a gold medal at the 2000 Olympics—the first games in which women’s soccer was recognized as a medal sport. In this picture, taken as part of a series of America’s top athletes for ESPN, photographer Rick Chapman 2001 Rick Chapman

sought to capture his subject’s personal rather than public persona. © Taken on an overcast day as the sun was breaking through the clouds, the image shows a more intimate side of the athlete than generally revealed by sports photography.

New Acquisitions 9 The American Presidents

Marc Pachter Director While it is a commonplace of American childhood that every young American should have at least the chance to grow up to be President of the United States, it goes without saying that very few of us ever know what it is like to run for the office, much less to carry its magnificent burden. As citizens, however, we have the opportunity to participate in the election of Presidents and the obligation to understand what the office means in the shaping not only of our times but, in the end, of our identity as a nation. For that reason, the Hall of Presidents lies at the very heart Harry S. Truman by Frank Cancellare, 1948 of the National Portrait Gal- lery’s mission to tell the Ameri- course, the significant role of the of Washington’s second term, in can story through the individu- monarchy in their long histories, the “Lansdowne” portrait, which als who have shaped it. When we they have not seen the lineup of is the greatest historical painting are asked who “gets in” to our kings and queens as equivalent in our nation’s history and the collection of significant Ameri- to the story of what it means to core image in our Hall of Presi- cans, our answer is that we try be English or Scottish into our dents (see p. 12). to determine who has made a own time. We alone have seen Perhaps the most important particularly strong contribution our political history, rooted in thing that Washington did for us, in each field of endeavor. But the our evolving democracy, as the in a life of extraordinary patri- presidency is the exception that core of what holds us together as otic achievement, was to will- proves the rule. Every President a people, and have combined in ingly give up presidential power. gets in, even those whom his- the presidency both head of state The very notion of relinquishing tory judges disappointing. Put and of government. authority was, for that era, an another way, it is possible not to Oddly, though, the Consti- astonishing affirmation of the be a great President but impos- tution that governs us says less intentions of the new democ- sible not to be an important one. about the presidency than about racy. Indeed, it was the restraint The chapters of our history as any other branch of government. of authority that marked what a people are told through the It may be hard for us to realize, was unusual, and even, to some, terms of our highest office. now that we have experienced confusing about our society. The This is far less true of other well over two hundred years of balance of power built into our nations. In the family of national presidential administrations, that system made, and continues to portrait galleries around the the country’s eighteenth-century make, the authority of the presi- world, none of our sister insti- founders had virtually no experi- dency hard to define, and makes tutions groups its heads of state ence of the role of the head of a it dependent on the particular together in the telling of their modern republic. What was it not occupant of the office and the national history (although of to be a king and yet to have sig- times and conditions the Presi- course they do find a place for nificant authority, real and sym- dent confronts. When we stroll those leaders in their collections). bolic? In the end, they decided, through the Hall of Presidents, No Australian, for example, in effect, to “let George do it” by we see an astonishing variety of would see his or her tradition of imploring George Washington to temperaments and circumstances, political leadership as forming take on the office and then watch- trials and triumphs. There is no the essence of national life. And ing him shape the presidency. Gil- one way to be President. The only while the English and Scottish bert Stuart captured the essence thing certain is that his—and Portrait Galleries recognize, of of that office in 1796, the last year sometime soon, her—authority

10 The American Presidents Garry Winogrand, courtesy of Fraenkel Gallery Garry Winogrand, The New York Times/George Tames Times/George © The New York © John F. Kennedy by Garry Dwight and Mamie Eisenhower by George Tames, 1952, gift of Frances Winogrand, 1960 O. Tames will come to an end. occupants of the office, have been actively commission and collect We Americans, then, give our a way for Americans to become portraits for its presidential resi- Presidents great power and then acquainted with these individuals dence. With the Portrait Gallery’s make it quite difficult for them and also to transfer to them the founding in the 1960s, the build- to exercise it without negotia- ongoing grandeur of the office. It ing of the second official group tion and compromise. Truth be is hard to imagine now in the age of presidential images began. We told, we both call for and fear of media blitz, but the only way are involved with both collec- the strength of the office. The for the first citizens of our repub- tions, advising each administra- American experiment has been lic to get to know their Presidents tion on selecting portrait artists, an effort to have both order and was through painting, sculpture, not only for our own paintings freedom. We trust no one with or prints. Later, the role of rep- but also for those in the White absolute power and have never resentation was enhanced, first House. In this era of heightened been tempted by a government through photography and then security concerns, the Portrait that was efficient, if it meant through the technological revolu- Gallery’s paintings have increas- that the give-and-take of democ- tions of film, radio, television, and ingly become the most accessible racy was compromised. We can new media. In all of these forms, to the American people. also be fickle in our allegiances. representation of the President So when we reopen our doors Presidents often come into office has reflected an ongoing dialogue after extensive renovation in July on a wave of enthusiasm but about the office itself, and posing of 2006, our visitors will see an then suffer all manner of criti- for the presidential portrait has enhanced and extended Hall of cism, from supporters as well as become part and parcel of the Presidents. With the addition of opponents. We seem to others process by which Presidents have another room and an adjacent around the world to be both affirmed their understanding of gallery devoted to exhibitions on extraordinarily reverent toward their role. presidential themes, we will have the office and equally irrever- The National Portrait Gallery tripled the space given over to our ent to the Presidents themselves. is proud to hold one of two offi- understanding of an office that We love them and leave them, or cial national collections of presi- embodies our hopes and fears, ask them to leave us. This can dential portraits. The other, of our vitality, our past, and our be exhausting for the individuals course, belongs to the White destiny as a nation. As the roster themselves, and for the nation House. Surprisingly, for more of Presidents grows in the twenty- over which they preside. But it than a half century, the only first century, the National Por- has been our strength and con- portrait of a President in the trait Gallery will strive to do jus- tinuity as a democracy. White House was the “Lansd- tice to their place in our lives. But Given the importance of the owne”–type image of George nothing they have done—or will presidency, its portrayal has Washington—the one saved by do—will be as important as the played a great role in our his- Dolley Madison. Not until the fact that every four years it is we tory. Portraits of the Presidents, second part of the nineteenth who choose them, and that their particularly as candidates or as century did the nation begin to authority is borrowed from us.

The American Presidents 11 Gilbert Stuart: The Exhibition

Ellen G. Miles traits, including almost Curator of Painting one hundred of George and Sculpture Washington. The exhi- The National Portrait bition focuses especially Gallery’s “Lansdowne” on Stuart’s relationship portrait of George Wash- with his sitters so that his ington, the “Athenaeum” approach to portraiture portraits of George and may be better understood. Martha Washington, and The narrative begins with the “Edgehill” portrait of the artist’s early train- Thomas Jefferson will join ing in Newport, Rhode eighty-eight other works Island, and in Edinburgh, by American portrait Scotland, and continues painter Gilbert Stuart in his years in London (1755–1828) in an exhi- (1775–87); portraits from bition that opens at the these early years show the Metropolitan Museum of transformation in his style Art in New York City on from a closely observed October 21, 2004. “Gil- directness to a more elab- bert Stuart,” a joint proj- orate and sophisticated ect of the Metropolitan English manner. After five- and NPG, has been five and-a-half years in Dublin years in the making. Cura- (1787–93), Stuart returned tors Ellen G. Miles of the to the United States, set- National Portrait Gallery tling briefly in New York and Carrie Rebora Barratt City and moving to the of the Metropolitan have George Washington “Lansdowne” portrait, 1796. capital city of Philadel- Acquired as a gift to the nation through the gener- selected portraits that phia in 1794. There, he osity of the Donald W. Reynolds Foundation represent Stuart’s entire arranged for sittings with career, from his early work the President: Stuart, per- before the American Revolution petually in debt, planned to build to his last works, painted in the a potentially lucrative business by 1820s. They have also written a painting copies of Washington’s 352-page catalogue, published portrait for the President’s many by the Metropolitan and distrib- admirers. The exhibition features uted by Yale University Press, to fourteen portraits of Washington, accompany the exhibition. including the original Lansdowne Closing on January 16, 2005, image and two replicas. in New York, the exhibition Stuart’s great talent, widely reopens in Washington, D.C., on remarked on at the time, was his March 27 and runs through July ability to depict the personalities 31. Because NPG’s exhibition of his sitters. He firmly estab- spaces in the Patent Office Build- lished his reputation during the ing will still be under renovation, decade that he spent in Philadel- the National Gallery of Art will Dolley Madison, 1804. The White phia (1794–1803) before going host the Washington venue for House, Washington, D.C. to the new national capital in “Gilbert Stuart.” The exhibition Washington, D.C. During his in New York is being made pos- eighteen months in Washing- sible by The Henry Luce Foundation and The Peter ton (1803–5) he painted, among others, President Jay Sharpe Foundation. The exhibition in Washing- Thomas Jefferson and his secretary of state, James ton is made possible by the Donald W. Reynolds Madison. Sitting for Stuart was described as “all Foundation. The exhibition is proudly sponsored the rage,” and the artist was equally sought-after by Target Stores, as part of its commitment to arts to paint portraits of “the ladies,” including Dolley and education. Madison. Stuart settled in Boston in 1805, where Stuart painted more than one thousand por- he continued to paint until his death.

12 Exhibitions Retratos: 2,000 Years of Latin American Portraits

Carolyn Kinder Carr Deputy Director and Chief Curator “Retratos: 2,000 Years of Latin American Portraits” is a groundbreak- ing exhibition exploring Latin American art and history through portraiture. This exhibition, which includes more than one hundred painted and sculpted portraits from seventy-six leading museums and private collectors in Mexico, Central and South America, the Carib- bean, and the United States, is the first to consider the rich traditions of portraiture in Latin America from a multinational point of view. Consisting of five sections, “Retratos” begins with works from the Moche and Maya cultures to underscore the fact that portraiture existed in Latin America before the arrival of Europeans. The seven- teenth- and eighteenth-century portraits from the viceregal, or colonial, period show the era’s secular and religious leaders and demonstrate the transformation and adaptation of European portrait models in various colonies. This section also includes the first of several representations of crowned nuns, a portrait genre that began in the mid-eighteenth century and had a hundred-year history. In the nineteenth century, a time when countries in the Americas established their independence from European rulers, the portraits portray the new secular and social leaders of the time, most of whom, like Simón Bolívar, were native-born. Many of these portraits were undertaken by indigenous artists, such as Peruvian-born José Gil de Castro (1785–1843), whose career took place mainly in Chile,

and Mexican José María Estrada (c. 1810–c. 1862). The nineteenth Photo by Blanco Fotografos Profesionales century is complex, however, and paradox reigns. European stylis- Brother Francisco Rodríguez, Father tic traditions were not wholly ignored: by the middle of the century, of Cocula, by Abundio Rincón, 1853. Museo Regional de Guadalajara, numerous native-trained painters journeyed to Europe, particularly CONACULTA-INAH, Mexico Paris, to complete their training and make their reputation by partici- pating in juried exhibitions there. Portraits made during the first three-quarters of the twentieth century underscore both the internationalism of Latin American art as well as I. Gez Gez I.

its strong nationalist impulses. Contemporary portraiture, featured in é the last section of the exhibition, demonstrates the vitality of the genre today in the work of those living in Latin America and those from Latin America currently residing in the United States. Photo by Jos by Photo “Retratos” is jointly organized by three museums and four curators: / Carolyn Kinder Carr and Miguel Bretos of the National Portrait Gal- xico, Diego Rivera and and Rivera Diego xico,

lery; Marion Oettinger of the San Antonio Museum of Art; and Fatima é Bercht of El Museo del Barrio in New York City. A 300-page fully illustrated catalogue published by Yale University Press, containing essays by a dozen scholars in the field, accompanies the exhibition. “Retratos” opens at El Museo del Barrio on December 3, 2004. It will travel to the San Diego Museum of Art, the Bass Museum of Art M de Banco 2004 Frida Kahlo Museums Trust Museums Kahlo Frida Manterola © in Miami Beach, and the San Antonio Museum of Art. The National Elisa Saldívar de Gutiérrez Roldán Portrait Gallery will present the exhibition at the International Gal- by Diego Rivera, 1946. Pascual lery of the S. Dillon Ripley Center from October 21, 2005, through Gutiérrez Roldán, Mexico January 8, 2006. The exhibition’s organization and presentation at five venues, its publications, and its various outreach initiatives have been made possible by a generous grant from the Ford Motor Company Fund. The Latino Initiatives Pool, administered by the Smithsonian Center for Latino Initiatives, has also contributed to the research and edu- cational outreach related to this exhibition.

Exhibitions 13 The Paul Peck Presidential Initiative 2004 Paul Peck Presidential Award Winners Service to the Presidency: George M. Elsey, Member of the Roosevelt, Truman, and Johnson Administrations Portrayal of the Presidency: Brian P. Lamb, Chairman and CEO of C-SPAN

George M. Elsey and Brian P. Lamb have been September 16, 2004 1:30 p.m. named the 2004 recipients of the National Portrait 9/11 and the Presidential Election Gallery’s Paul Peck Presidential Awards, which Panelists include Ambassador Thomas Pickering; honor individual excellence in presidential service Jack Watson, White House chief of staff for Presi- and portrayal. Elsey, who served in the Roosevelt, dent Jimmy Carter; and Juan Zarate, assistant sec- Truman, and Johnson administrations, won the retary of the treasury/terrorist financing. The panel award for service to a President, and Lamb, chair- will be moderated by Congresswoman Ileana Ros- man and CEO of the cable network C-SPAN, won Lehtinen (R-FL). for portrayal of a President. The winners will receive September 21, 2004 7:00 p.m. $25,000 and a specially designed Smithsonian medal White House Photographers at a gala dinner on October 28. Panelists include Diana Walker, former White House Education plays a key role in the awards, and both photographer for Time magazine; Sharon Farmer, winners will participate in a town-hall forum from White House photographer for the Clinton admin- 2:30 to 4:30 p.m. on October 29 in the Lecture istration; and Christopher Morris, current White Hall of the S. Dillon Ripley Center in Washington, House photographer for Time magazine and former D.C. The event is free and open to the public. The White House photographer for the George W. Bush winners will also appear on Close Up on C-SPAN administration. The panel will be moderated by Marc that evening. Pachter, director of the National Portrait Gallery. As part of the expanding Paul Peck Presidential Initiative, the National Portrait Gallery has partnered October 20, 2004 2:00 p.m. with the University of Miami, which will host the Polls and Predictions first presidential debate on September 30. The Peck Lecture and question-and-answer session with Initiative and the University of Miami will cosponsor pollster John Zogby. several programs about timely topics for the 2004 November 4, 2004 2:00 p.m. presidential election. What Happened? A Postmortem Panels will take place on the University of Miami A panel will discuss what issues mattered, and to campus in Coral Gables, Florida, and are open to whom, following the November election. Moderated the public. by Tom Fiedler, executive editor, the Miami Herald.

First Ladies of Presidential Politics Once publicly admired for her grace and dignity in the White House, Jacqueline Kennedy Onassis remains an iconic figure in popular culture. Her portrait in “American Women” will be on view at the Naples (Florida) Museum of Art beginning in January 2005.

Eleanor Roosevelt, regarded as America’s humanitarian, was fiercely devoted to welfare causes such as child labor and the civil rights of minorities. This portrait, from “Women of Our Eleanor Roosevelt by Clara E. Jacqueline Kennedy Onassis by Time,” is on view at the George Bush Sipprell, 1949, bequest of Phyl- Boris Chaliapin, 1960, gift of Presidential Library and Museum in lis Fenner Time magazine College Station, Texas.

14 Paul Peck Presidential Initiative NPG Schedules Portrait of a Nation From the Tour Itinerary Curator’s Bookshelf Portrait of a Nation encompasses a series of exhibitions organized by the National Portrait Gallery while the Patent Office Building is closed for renovation. For further information, contact the Depart- ment of Exhibitions and Collections Management at (202) 275- 1777; fax: (202) 275-1897, or e-mail: [email protected].

Women of Our Time: Twentieth-Century Photographs from the National Portrait Gallery Final venue: George Bush Presidential Library & Museum, College Station, Texas October 8, 2004–January 2, 2005

American Women: A Selection from the National Portrait Gallery Naples Museum of Art, Florida January 7, 2005–April 3, 2005 The cover illustrates Ethan Allen Greenwood’s portrait Final venue: Columbia Museum of Art, South Carolina of Worcester publisher and April 30, 2005–July 10, 2005 printer Isaiah Thomas Sr., who founded the American Antiquarian Society in 1812.

NPG on the Road The American Antiquarian Society of Worcester, Gilbert Stuart (see article on p. 12) Massachusetts, is known Co-organized by the Metropolitan Museum of Art worldwide for its collections and the National Portrait Gallery of materials that document The Metropolitan Museum of Art, American history: books, New York City manuscripts, newspapers, October 21, 2004–January 16, 2005 maps, prints, and drawings. National Portrait Gallery at the National Gallery of Art, Its portrait collection is Washington, D.C. closely related to these March 27–July 31, 2005 holdings, as Lauren B. Hewes points out in Portraits Retratos: 2,000 Years of Latin American Portraits in the Collection of the (see article on p. 13) American Antiquarian Co-organized by the San Antonio Museum of Art, the National Society, published by the Portrait Gallery, and El Museo del Barrio society this spring and El Museo del Barrio, New York City distributed by Oak Knoll December 3, 2004 –March 20, 2005 Press. Readers will find full discussions of 164 painted San Diego Museum of Art, California and sculpted portraits, April 16–June 12, 2005 including miniatures. Linda Bass Museum of Art, Miami Beach, Florida J. Docherty’s introductory July 23–October 2, 2005 essay discusses the portraits as both works of art and International Gallery, Smithsonian historical documents. For Institution, Washington, D.C. further information, contact October 21, 2005–January 8, 2006 the society at http://www. San Antonio Museum of Art, Texas americanantiquarian.org/ February 4 –April 30, 2006 publications.htm.

NPG Schedules 15 Portrait Puz z lers 1. 2. 3. 4. Chuck Close, courtesy Pace 1997, Frederick J. Brown Prints, NYC © © Louis Armstrong encour- This composer’s contem- This frontiersman’s She grew up in Con- aged this jazz legend to porary works run the coonskin cap is even cord, Massachusetts, switch instruments from gamut from the opera more famous than Estes and made her home— the drums to the vibra- Einstein on the Beach Kefauver’s (p. 4), per- and her three sisters phone in the 1930s. to the scores of movies haps because of Walt —famous as characters such as Fog of War and Disney’s 1950s televi- in Little Women.

Koyaanisqatsi. sion program.

All images are details. are images All 1870. c. print, silver

(1832–1888) by George Kendall Warren Studio, albumen albumen Studio, Warren Kendall George by (1832–1888) Alcott May Louisa . 4 Holderness Sidney Algernon of gift

by James Hamilton Shegogue, watercolor on paper, 1831, 1831, paper, on watercolor Shegogue, Hamilton James by ) 1836 – (1786 Crockett David . 3 Peretz Martin of gift partial

(b. 1937) by Chuck Close, handmade paper cast on grid, 1982, 1982, grid, on cast paper handmade Close, Chuck by 1937) (b. Glass Philip . 2 on behalf of the people of New York York New of people the of behalf on

(1908–2002) by Frederick J. Brown, oil on canvas, 1997, gift of Mayor Rudolph Giuliani Giuliani Rudolph Mayor of gift 1997, canvas, on oil Brown, J. Frederick by (1908–2002) Hampton Lionel . 1 Answers:

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