The Kentucky Review Volume 10 | Number 3 Article 4 Fall 1990 Henry Clay and the American State Portrait Clifford Amyx University of Kentucky Follow this and additional works at: https://uknowledge.uky.edu/kentucky-review Part of the Arts and Humanities Commons Right click to open a feedback form in a new tab to let us know how this document benefits you. Recommended Citation Amyx, Clifford (1990) "Henry Clay and the American State Portrait," The Kentucky Review: Vol. 10 : No. 3 , Article 4. Available at: https://uknowledge.uky.edu/kentucky-review/vol10/iss3/4 This Article is brought to you for free and open access by the University of Kentucky Libraries at UKnowledge. It has been accepted for inclusion in The Kentucky Review by an authorized editor of UKnowledge. For more information, please contact
[email protected]. Henry Clay and the American State Portrait Clifford Amyx America, having rejected royalty and established a republic, was obliged to create a state portrait without royalist trappings. In fact, when Pres. Andrew Jackson was accused of exercising unwarranted executive power he was caricatured with precisely the most familiar of the royalist attributes-the ermine robe, the sceptre of power, and the crown. American painters, seeking to create a sense of authority in the portraits of their statesmen, retained from Europe two of the basic attributes of formal or stately presence, the flowing heavy drape familiar in Baroque court portraits, and the classical column with its connotation of a formal or stately milieu. These attributes were familiar to the American artists who learned their art in England.