ABSTRACT Title of dissertation: PORTRAITURE AND POLITICS IN NEW YORK CITY, 1790-1825: STUART, VANDERLYN, TRUMBULL, AND JARVIS Bryan John Zygmont, Doctor of Philosophy, 2006 Dissertation directed by: Professor Sally M. Promey Department of Art History and Archaeology Four prominent portraitists were active in New York City between 1790 and 1825: Gilbert Stuart, John Vanderlyn, John Trumbull, and John Wesley Jarvis. Despite working in the same geographic location, these four artists received different artistic training, developed distinct aesthetics, and often worked for distinct groups of patrons. Upon returning to the United States in 1793 Stuart quickly established himself as the preeminent portraitist in New York City. This coincided with a moment of particular political harmony in the United States, a harmony that was broken by the vitriolic debates over the ratification of the Jay Treaty in 1795. Although Vanderlyn briefly studied with Stuart, Vanderlyn received most of his training in Paris in the studio of Vincent, a prominent French neoclassicist. When Vanderlyn returned to New York City, Democratic-Republicans—politicians who wished to tie the diplomatic future of the United States to France—quickly embraced Vanderlyn’s decidedly French aesthetic. This artistic style is characterized by an emphasis on linearity, a muted use of color, and compositions in which the artist places compositional focus on the sitter rather than objects around him. Conversely, Federalists who wished to further tie America to Great Britain preferred Trumbull and his English style: the energetic brushstrokes, colorful palette, and compositions that often contained ancillary elements that allude to the sitter’s occupation, education, and wealth. In contrast to both Vanderlyn and Trumbull, Jarvis did not received European training. As a result, he developed an aesthetic that was quickly embraced by individuals who did not wish their portrait express political alignment. Indeed, this political neutrality—both social and stylistic—was one of the reasons members of the military preferred Jarvis over his politically inclined competitors. PORTRAITURE AND POLITICS IN NEW YORK CITY, 1790-1825: STUART, VANDERLYN, TRUMBULL, AND JARVIS by Bryan John Zygmont 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 2006 Advisory Committee: Professor Sally M. Promey, Chair Professor William L. Pressly Professor Vincent Carretta Professor Franklin Kelly Dr. Ellen G. Miles © Copyright by Bryan John Zygmont 2006 The dissertation that follows has had referenced materials 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 Acknowledgments The author of any written work of this length inevitably acquires many profound debts. I begin with the members of my dissertation committee. Mere words could not express The appreciation I feel for their commitment to this project. I wish to extend my most profound thanks to my advisor, Professor Sally M. Promey, whose academic guidance, professional mentoring, and belief in me has never wavered during my five years at the University of Maryland. She has been one of the prime movers behind my productive and happy period of study here. It would be difficult to find a more supportive and generous teacher than Professor William Pressly, my advisor in the area of eighteenth and nineteenth century British art. Both he and his wife, Nancy Pressly, have opened their home and hearts to me during my time here, and for that they deserve my unfettered thanks. It was in the fall of 2002 that Professor Franklin Kelly first urged me to write a lengthy formal analysis paper, a process that proved crucial in the interpretation and writing of this dissertation. I sincerely thank Professor Vincent Carretta of the English Department who so quickly agreed to serve as the dean’s representative on my dissertation committee. His careful reading and insightful comments proved to be most useful. Finally, a profound “thank you” to Dr. Ellen G. Miles, Curator of Painting and Sculpture at the National Portrait Gallery, who I first met in May of 2000 when I began a Smithsonian Institution Graduate Student Fellowship. Since that time, both as a masters student at the University of Arizona and later as iii doctoral candidate at the University of Maryland, Dr. Miles has been a most wonderful resource for an aspiring scholar of early-American portraiture. She freely provided compliments and gently gave critiques. I shall long remain in debt for her overwhelming kindness. I have received generous funding from various sources during my tenure as a graduate student that I should like to acknowledge. First, my most sincere thanks to Gene S. and Young R. Rhee who endowed the Jenny Rhee fellowship in the Department of Art History and Archaeology at the University of Maryland. I wrote the chapter that explores Gilbert Stuart and his patronage while a fellow at the Smithsonian Institution. In addition, a Henry R. Luce Foundation Dissertation in American Art Fellowship made possible an extended appointment as a Visiting Scholar at the National Portrait Gallery between 2005 and 2006. In addition to my thanks to Ellen Miles, I would like to express gratitude to others at the Smithsonian Institution and more specifically, the National Portrait Gallery, who made my tenure there not only an exceptionally productive time, but one filled with great joy and camaraderie. In particular, Brandon Brame Forture, Pie Friendly, Sid Hart, and Amy Henderson provided both encouragement and scholarly guidance. The wonderful librarians at the National Portrait Gallery and Smithsonian American Art Museum— Cecilia Chin and Patricia Lynagh—were able to find the most obscure of texts at nearly a moment’s notice. And as she has done with so many library patrons, Pat Lynagh has broken me of the habit of placing yellow Post-it notes in books, both the library’s and my own. This dissertation could not have been written without the Catalog of American Portraits and the kind assistance of Linda Thrift, the Administrator of the Center for iv Electronic Research and Outreach Services. Marco Zlatich at the National Museum of American History provided wonderful assistance in dating military portraits on the basis of uniforms. I feel I may be among the happiest doctoral students in the history of the higher education, and a part of that contentment resides in my overall experience at the University of Maryland and within the Department of Art History and Archaeology. During my time here I have benefited from countless pedagogical conversations with several gifted instructors who have shared with me their years of wisdom and experience. In particular, I thank Professor Sharon E.J. Gerstel and Professor Marjorie Venit. Indeed, Dr. Venit’s office, which was adjacent to mine on the fourth floor of the Art/Sociology building, provided the locale for many coffee-infused discussions prior to class. It would be impossible to find a more committed support staff at the University of Maryland than the one within the Department of Art History and Archaeology, and the entire graduate student community is continually in their debt. Dr. Laurie Sails and Dr. Quint Gregory, respectively the Director and the Coordinator of User Services of the Visual Resources Center, have provided hurried assistance at the most meager of notices. Ania Waller, the department’s Director of Finance, and Deborah Down, the Graduate Secretary, have always taken care of the important administrative details so that I could maintain focus on teaching and writing. Finally, no list of acknowledgements could be complete without recognizing Kathy Canavan, the wonderful Graduate Secretary during my first three years at Maryland, whose sudden death in the fall of 2004 so impacted the lives of all who knew her. v In a world that seemingly stresses continual competition, I am fortunate to have been surrounded by a group of supportive classmates who have made my time in and around the Washington, D.C. area one filled with tremendous happiness. They were quick to discuss ideas and provide constructive feedback in regards to my scholarship and teaching, and as quick in joining me for a social outing that did neither (such excursions maintained the writer’s tentative grasp on sanity). In particular, I wish to formally thank Theresa Huber (danke!), Guy Jordan, Jason Lafountain, Elizabeth Nogrady, Jonathan F. Walz, and Juliet Wiersema. I was exceptionally fortunate to meet the two people who would become my closest friends my first day on campus in August 2001: Katy Dunn and Flora Vilches. It was these two individuals more so than anyone else who provided day-to-day camaraderie and encouragement. I cannot imagine writing this dissertation without their continual guidance, support, friendship, and late-night visits to College Park diners. I offer, with profound appreciation, my deepest thanks. From my father, Peter E. Zygmont, I acquired a deep passion for learning and inquiry. Jean A. Zygmont, my mother, always stressed the underrated practice of being a good person. They collectively provided the intellectual and moral compass that has led me through life. John Clark remains the best man I know, and it would be impossible to have a better uncle or friend. Thank you for the scholastic time-outs during my spring breaks. Finally, I wish to acknowledge both of my grandmothers—Rosemary Clark and Mary Zygmont—who have filled my life with wisdom and kindness. My love and thanks to you all. vi I believe that every person who wants to be a teacher has had great teachers in their lives, and I am no exception. Two amongst many stand out, and no aspiring teacher could have ever asked for better models in which to follow.