AMERICAN PAINTERS IN THE EIGHTEENTH CENTURY.
The condition of the colonies was such during this period that one is not surprised to find that little was then done in America toward pro moting the progress of the fine arts. Two of the most prominent paint ers born in America in the eighteenth century went to England and became identified with the English school; we refer to Benjamin West and John Singleton Copley, who have been mentioned under English art.
While those who gained prominence as distinctively American artists studied in England and their style is of the English school, the first recorded colonial painter was Robert Feke (1725-1769). The first painter of any real artistic ability and art-education in America was a Scotchman, John Watson (16S5-1768), who painted portraits in Philadelphia in 1715.
john Smyberl, another Scotchman, who was born at Edinburgh about 1684 and died in Boston, Massachusetts, in 1751, was persuaded by Bishop Berkeley to settle in America, and came to Boston in 1728. Neither Smybert nor Watson deserves celebrity on the score of ability, but they must be mentioned in a record of American art, both because they were practically expounders and because they did much to perpetuate the like nesses of the worthies who helped to build up our republic. An excellent copy of a Vandyck brought over by Smybert contributed to stimulate a feeling for art-expression among our budding artists. Allston acknow ledged that a sight of this work "affected him like an inspiration." Charles IFilson Peale (1741-1826), a man of varied talents, acquired a reputation as one of our earliest painters by giving some attention to portraits; he studied for a time under Benjamin \Vest in London, and on returning executed an historical portrait of Washington. The condition of art in America, as also of our civilization, at that period, and the versatility of Peale, are well illustrated by the fact that he "sawed his own ivory for his miniatures, moulded the glasses, and made the shagreen cases.''—Rembrandt Peale (1778-1860), the son of Charles Wilson Peale, also made a profession of art, but his paintings indicate talent rather than successful achievement.
John T, (1756-18_13) was one of the most notable American painters of the last century. He was a son of Governor Trumbull of
Connecticut, and received a classical education at Harvard. But the Vandyck alluded to above made such an impression on young Trumbull that it awoke in him the dormant feeling for art. For a time lie laid aside the pencil for the sword, serving with distinction during the war of the Revolution, first as aide to General Washington, and then as major at the storming of the works of Burgoyne at Saratoga. After that event he threw up his commission and became a student under Benjamin West, whose style is suggested in that of Trumbull, who was, however, the greater artist by nature. That his later works show a wonderful falling off in quality is largely due to the fact that the almost entire absence of art-influences and competition on his return to America deprived him of the healthy stimulus so essential to the development of artistic genius.
The talents of Trumbull were conspicuous in portraiture and history painting. The energy of his style is illustrated in such powerful portraits as those of Washington and Hamilton; that of the former is in some respects the most interesting likeness existing of the Father of his Coun try. It is in the art-gallery of Vale College. Deficient, perhaps, in point of drawing, the attitude is full of spirit, the expression is that of the unconquerable hero who quailed not before the horrors of Valley Forge and who snatched victory at Trenton.
The art of Trumbull culminated in the historical paintings entitled The Sikniv- of the Derla PO lion of Indefiendence,the:Dcalli of illonlgonteiy, and the Raffle of Bunker Hill (fti. 7o, jig. 2). The last two are still unsur passed in spirit and composition by any other historical paintings of the American school. Of cabinet size, they combine breadth and detail in just proportion. The faces are in many cases portraits from life, and each is stamped with the violent, varying passions of the hour, the effect being extremely dramatic, although far from sensational. When Trum bull painted these two remarkable works lie was inspired by a true spark of genius. His later productions are of small artistic importance.