The Painter and the President

The Painter and the President
August 1, 2001
August 2001
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original article

Book Review

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Gilbert Stuart and the Creation of an Icon - In his "Lansdowne" portrait of Washington, as well as those of others, Gilbert Stuart caught the essence of his sitter. The American artist Gilbert Stuart was just a few days short of his 39th birthday in late 1794 when he arrived in Philadelphia intent on painting portraits of President George Washington. Considered the foremost American portrait painter of his day, the thoughtful and highly gifted artist managed to infuse his portraits of Washington, his most famous sitter, with a dignity and presence that inspire and still awe us today. But Stuart was a complex man. He was a garrulous boaster, an impulsive prankster, an incorrigible punster and an excessive imbiber. "Yet none of these faults," writes author Stanley Meisler, "detracted from the genius and talent to create what Stuart scholar Dorinda Evans calls 'a metaphysical incandescence' in his portraits, as if, as some contemporaries reflected, he were depicting the souls as well as the features of his sitters..."
Gilbert Stuart and the Creation of an Icon - In his "Lansdowne" portrait of Washington, as well as those of others, Gilbert Stuart caught the essence of his sitter. The American artist Gilbert Stuart was just a few days short of his 39th birthday in late 1794 when he arrived in Philadelphia intent on painting portraits of President George Washington. Considered the foremost American portrait painter of his day, the thoughtful and highly gifted artist managed to infuse his portraits of Washington, his most famous sitter, with a dignity and presence that inspire and still awe us today. But Stuart was a complex man. He was a garrulous boaster, an impulsive prankster, an incorrigible punster and an excessive imbiber. "Yet none of these faults," writes author Stanley Meisler, "detracted from the genius and talent to create what Stuart scholar Dorinda Evans calls 'a metaphysical incandescence' in his portraits, as if, as some contemporaries reflected, he were depicting the souls as well as the features of his sitters..."
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