Portraiture and Politics in New York City, 1790-1825: Gilbert Stuart, John Vanderlyn, John Trumbull, Andjohn Wesley Jarvis

Four prominent portraitists were active in New YorkCity between 1790 and 1825. Despite working in thesame location, these artists had different training, developed distinct aesthetics, and often worked fordistinct groups of patrons. Gilbert Stuart returnedto theUnited States in 1793 and established himself as thepreeminent portraitist in New York City. Thiscoincided with a moment of political harmony in theUnited States. John Vanderlyn received most of histraining in Paris in the studio of a prominent Frenchneoclassicist. When Vanderlyn returned to New YorkCity, Democratic-Republicans, politicians who wishedto tie the diplomatic future of the United States toFrance, quickly embraced his French aesthetic. Conversely, Federalists who wished to further tieAmerica to Great Britain preferred John Trumbull'sEnglishstyle. John Wesley Jarvis did not receive Europeantraining andinstead developed an aesthetic that was quicklyembraced by individuals who did not wish theirportrait express political alignment. Thisneutrality was one reason why members of the militarypreferred Jarvis over his more politically inclinedcompetitors.