On view

American Art
Wilmerding Pavilion
Sarah Shaw Anschutz Gallery

William Bayard,

1794

Gilbert Stuart, 1755–1828; born North Kingstown, RI; died Boston, MA
2004-37
In the late eighteenth century, the practice of writing was a mark of distinction. Writing connoted the transaction of commerce, law, correspondence, and other affairs considered gentlemanly, as seen in three of these portraits of accomplished American citizens. In contrast is a depiction of the successful published poet Annis Boudinot Stockton, a politically active correspondent of George Washington—and likely the most literate among the group. She is portrayed without reference to writing or other qualities that defined her public persona, reflecting the era’s patriarchal gender conventions. In place of a quill, she holds a flower, a symbol of fertility, positioned in such a way as to draw attention to her décolletage rather than to her intellectual capabilities. Washington recognized her talents, writing to Stockton about one of her poems, “I think the easy, simple, and beautiful strains with which the dialogue is supported, does great justice to your genius.”

More Context

Handbook Entry

Descended from an old New Jersey family, merchant William Bayard was highly regarded for acumen and probity. He sat for Stuart during the artist’s stay in New York, following a long period of portrait painting in Ireland. The resulting image, at once decorative, dignified, and virtuosic, is distinguished by the tension between its exuberant palette and the sitter’s sober pose and demeanor. Stuart’s picture is further enlivened by its characteristically soft modeling and sketchy finish, as well as by its incomplete composition, especially evident in the merely suggested quill and inkwell — the latter curiously rendered twice — and the nonexistent chair upon which the "sitter" would normally rest. Whether the portrait’s unfinished state is due to circumstance or, as in other works by the artist, was by design is unknown.

More About This Object

Information

Title
William Bayard
Dates

1794

Medium
Oil on canvas
Dimensions
90 × 69 cm (35 7/16 × 27 3/16 in.) frame: 112.7 × 93 × 8.9 cm (44 3/8 × 36 5/8 × 3 1/2 in.)
Credit Line
Gift of Mary Eccles, Viscountess Eccles
Object Number
2004-37
Place Made

North America, United States

Culture
Materials

Maria (Bayard) Campbell (1789-1875), daughter of the sitter; inherited by her youngest daughter, Maria Campbell; acquired by her son Howard Townsend, by 1912 until 1924-1925 [1]. [Levy Galleries, New York (NY), by the 1960s [2]]; Donald Hyde (1909-1966) and Mary (Morley Capo) Hyde (1912-2003), 1960s; bequeathed to the Princeton University Art Museum by Mary (Morley Crapo) Eccles, Viscountess Eccles, 2003. [1] At that time, the painting was exhibited at the Metropolitan Museum of Art. Written communication by Carrie Rebora Barratt, curator of American Sculpture and Painting at the Metropolitan Museum of Art. [2] Written communication by Carrie Rebora Barratt, curator of American Sculpture an