COLLECTION NAME:
Visual Resources Teaching Collection
mediaCollectionId
ArtArtHiAAH~7~7
Visual Resources Teaching Collection
Collection
true
Image Record ID:
aahi0000305
image_record_id
aahi0000305
Image Record ID
false
Work Title (display):
Portrait of Samuel Smith
Image Title:
full view
Work Dates (display):
early to mid 19th century
Work Dates type:
creation
Work Creator (display):
Samuel Lovett Waldo (American, 1783-1861)
Work Creator gender:
male
work_creator_or_agent_gender
male
Work Creator gender
false
Work Creator notes (display):
American painter. After attending a country school and working on his father's farm, he decided at the age of 16 to become an artist. He took lessons from Joseph Steward (17531822), a retired minister who operated a portrait studio in Hartford, CT. Waldo opened his own studio in Hartford in 1803, before moving on to paint portraits in Litchfield, CT, and Charleston, SC. In 1806, bearing letters of introduction to Benjamin West and John Singleton Copley, Waldo travelled to London, where he studied at the Royal Academy. His portrait of Mr M'Dougle (untraced) was shown at the Royal Academy in 1808. In January 1809 Waldo returned to America and settled in New York. By 1812 he was exhibiting frequently there and in Philadelphia. Waldo's education and period of study in Europe prepared him for a leading role in the emerging cultural life of New York. He became a director of the American Academy of the Fine Arts in 1817 and remained active in that institution even while supporting the development of its rival, the National Academy of Design. He encouraged the aspirations and efforts of younger artists, such as Charles Loring Elliott and Asher B. Durand, and he initiated a subscription to commission Thomas Lawrence's full-length portrait of Benjamin West (c. 1819; Hartford, CT, Wadsworth Atheneum). His own work from this time demonstrates a vigorous style and considerable ambition, as seen in a romantically conceived Self-portrait (c. 1817; New York, Met.) and the forceful, but empathetic Old Pat, the Independent Beggar (1819; Boston, MA, Athenaeum). In 1812 Waldo accepted an apprentice, William Jewett (?178990/921874), who had purchased a release from his apprenticeship to a coachmaker. After Jewett had completed his apprenticeship, Waldo offered him a salary and then a partnership. The team was active in New York from about 1818 to 1854 (when Jewett retired to a farm in New Jersey), painting some of the most solid and characteristic portraits of the period. Although they produced portraits in such number as to become formulaic and monotonous, their best paintings, such as the portrait of George Griffin (1827; New York, NY Hist. Soc.), stand as vivid likenesses and lively characterizations. Their typical waist-length portraits combine strong modelling, broad paint handling and robust colour, and their sitters wear comfortable, genial expressions. Such later works as Stephen Allen (1846; New York, NY Hist. Soc.) demonstrate more ambitious compositions, elaborate settings and richer colours, although the appealing portrait of The Knapp Children (c. 184950; New York, Met.) betrays in its awkward composition the team's unfamiliarity with group portraiture. In practice, it seems that Waldo determined the composition and executed the heads of portraits before turning them over to Jewett, who painted the costume and background (see, for example, the unfinished portrait of Deliverance Mapes Waldo, c. 1826; New York, Met.). Yet so closely bound are the two artists' styles that even their contemporaries admitted it was impossible to distinguish the work of one from the other. Waldo occasionally exhibited independent work after 1820 (e.g. Mrs C. F. Lindsley, 1844; San Francisco, F.A. Museums), although Jewett did not. (Contemporary sources indicate that Jewett was often inactive for long periods due to illness.) Waldo's successful collaboration with Jewett appears to have overshadowed and eventually consumed his individual talents and contributions; by 1820 he had settled into the predictable rewards of his portrait practice, and his later career is marked by prosperous, if uneventful, success. (Grove Art Online Accessed 2006-07-27)
Work Style Period:
19th century
work_styleperiod
19th century
Work Style Period
false
Work Subject:
Smith, Samuel (1752-1839)
subject
Smith, Samuel (1752-1839)
Work Subject
false
Work Subject:
elderly
subject
elderly
Work Subject
false
Work Subject:
portraits
subject
portraits
Work Subject
false
Work Subject:
men (male humans)
subject
men (male humans)
Work Subject
false
Work Worktype:
paintings (visual works)
work_type
paintings (visual works)
Work Worktype
false
Work Category (VRC classification):
paintings
work_category__ucbaahvrc_classification_
paintings
Work Category (VRC classification)
false
Work Material and Technique (display):
paint
Work Measurements (display):
76.2 cm (H) x 63.5 cm (W)
Work Location (Repository or Site) name:
Mead Art Museum (Amherst College)
Work Location (Repository or Site) role:
repository
Work Location (Geographic) name:
Amherst, Massachusetts
Image Rights (display):
© Ronald Wiedenhoeft. Licensed for educational use via Scholars Resource: Saskia, Ltd.
Image Rights license agreement:
SASKIA, LTD.: WHO CAN USE THIS SOFTWARE: (a) Licensee, including faculty, staff and currently enrolled students may use the Licensed Software to display and or print the corresponding graphic images without limitation for teaching and research purposes at the defined Sites, or at remote locations having electronic access to your Site(s). (b) This license include permission to use the Licensed Software on a multi-user network at the defined Site, and to permit remote access to a computer/server located at your Site. Simultaneous display in multiple locations at or connected to the Site is also permitted. (c) Licensee agrees to employ reasonable security measures designed to limit access to your faculty, staff and currently enrolled students. PROHIBITED USES AND LIMITATIONS: (a) Saskia hereby reserves all rights not expressly granted herein. (b) the License Software may not be used for preparaiton of any publication, scholarly or otherwise; or for any purpose other than teaching or research. Publication of an image from the Licensed Software requires a separate license from Saskia. (c) Licensee agrees not to resell, lease, transfer, sub-license or otherwise distribute a copy of the Licensed Software, or any image taken from the Licensed Software, in whole or in part. (d) Licensee also agrees not to modify, corrupt or alter any digital image graphic content or "digital watermark" or the like in the software provided by Saskia under this Agreement. (e) Licensee agrees not to remove, alter, cover or distort Saskia's copyright notice, trademark, or other proprietary rights notice placed by Saskia in the Licensed Software itself, or in the associated packaging, media or documentation. (f) And Licensee agrees to notify users of the Licensed Software, in writing or by sign-on screen display, of their obligations under this Agreement and solicit their cooperation and compliance with such obligations.
Terms of Agreement and Conditions of Use:
YOU AGREE: Luna Imaging's Insight Software and the digital image collection associated with it (the Software) are being provided by the University of Colorado under the following license. By obtaining, using, and/or copying this work, you (the Licensee) agree that you have read, understood, and will comply with the following terms and conditions. 1. The Software contains the University of Colorado's Department of Art and Art History's implementation of a digital image collection; 2. Any images obtained through use of the Software will be used only for non-profit, educational purposes; 3. The use of images obtained through the software will only be used while the Licensee is either: a) an employee of the University of Colorado, Metropolitan State College of Denver, or the Community College of Denver, or b) an enrolled student at the University of Colorado, Metropolitan State College of Denver, or the Community College of Denver; 4. When the Licensee is no longer an employee or student of the University of Colorado, Metropolitan State College of Denver or Community College of Denver, either by an action of the University of Colorado, Metropolitan State College of Denver or the Community College of Denver or due to actions of the Licensee, the licensee will cease to use any images exported from the Department of Art and Art History's digital image collection; 5. The Licensee agrees to indemnify the University for claims and liability arising out of the use of the Software or for any violations of this license; 6. THE UNIVERSITY OF COLORADO SUPPLIES THE SOFTWARE WITHOUT ANY WARRANTIES, EXPRESS OR IMPLIED, INCLUDING ANY WARRANTY OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE.
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Holding Institution:
University of Colorado at Boulder
Collection:
Art and Art History Visual Resources Center
Collection info and contact:
For information about this collection, see