Detail View: Visual Resources Teaching Collection: Declaration of Independence in Congress, at the Independence Hall, Philadelphia,July 4th, 1776
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Image Record ID:
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aahi0000074
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Work Title (display):
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Declaration of Independence in Congress, at the Independence Hall, Philadelphia,July 4th, 1776
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Image Title:
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full view
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Work Dates (display):
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commissioned 1817, purchased 1819
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Work Dates type:
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creation
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Work Creator (display):
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John Trumbull (American,1756-1843)
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Work Creator gender:
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male
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Work Creator notes (display):
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American painter, architect and diplomat. His importance lies in his historical paintings memorializing events in the American War of Independence. Applying Benjamin West's and John Singleton Copley's realistic innovations in history painting to American subjects, he created a series of images, reproduced in countless illustrations, that have become icons of American nationalism. They are also symbolic of his lifelong political and artistic identity. Born into a well-to-do and politically prominent Connecticut family, Trumbull was the youngest child of Jonathan Trumbull, later Governor of Connecticut, and his wife Faith, a descendant of the Pilgrim leader John Robinson. Despite blindness in one eye (the result of a childhood accident), Trumbull was inclined from early boyhood towards art. His father intended that he prepare for one of the learned professions, either the ministry or the law, and in 1771 sent him to Harvard College. On his way to Cambridge, MA, Trumbull met Copley in Boston and was impressed by the artist's personal elegance as well as by his paintings. At Harvard, Trumbull tutored himself in the fine arts both by studying the Copley portraits that hung there (he copied at least one, Rev. Edward Holyoke; untraced) and by reading extensively on the history, theory and practice of art. He graduated in 1773 (the first American artist to be college-educated) and returned home to Lebanon, CT, to take up painting. His early efforts were based on engravings, generally scenes of ancient Roman heroism (e.g. the Death of Paulus Aemilius at the Battle of Cannae, 1773; New Haven, CT, Yale U. A.G.). Trumbull's father strongly opposed his artistic ambitions, considering a manual craft beneath the family's station. When war with Britain broke out at Lexington, MA, on 19 April 1775, his father, by now governor, arranged for him to become an aide to General Joseph Spencer. In this capacity, Trumbull saw, from a distance, the Battle of Bunker Hill; it was the closest he came to any of the events he later depicted. Following the British evacuation of Boston in March 1776, Trumbull moved to New York. His skill at drawing maps brought him to the attention of General George Washington and General Horatio Gates for whom he served briefly as aide-de-camp and adjutant-general respectively, attaining the rank of colonel. Always hypersensitive, he resigned from military service in 1777 when his expected commission did not arrive on time. He returned to Lebanon and resumed painting, mainly executing family portraits in the style of Copley (e.g. Governor and Mrs Jonathan Trumbull, Sr, 1778; Hartford, CT Hist. Soc.). Trumbull moved to Boston in June 1778, renting the former studio of the Scottish-born artist John Smibert. Since he could not study with Copley, who had gone to England, he taught himself by studying Smibert's copies of Old Master paintings by Anthony van Dyck, Poussin and Raphael, which had remained in the studio. In 1780 Trumbull went to France on a speculative commercial venture for his family. The enterprise was unsuccessful and he continued on to England, where he sought out Benjamin West, who had become Painter of Historical Pictures to George III. West agreed to accept him as a pupil. Perhaps in retaliation for the execution in New York of Major John André as a British spy, or because he may have had a clandestine diplomatic mission, Trumbull was soon arrested as a spy and charged with treason. Thanks to West's influence with the King, Trumbull's life was spared but he was imprisoned for almost eight months and then deported. After hostilities ceased, he returned to London in January 1784 to resume his studies with West and to attend classes at the Royal Academy. At West's suggestion, and further encouraged by Thomas Jefferson, then American Minister in Paris, Trumbull began in 1785 what was to become his life's great worka series of paintings depicting events from the American War of Independence. (His original plan called for fourteen subjects, eight of which were completed.) By 1786 he had finished the first two, the Death of General Warren at the Battle of Bunker's Hill (which West called the best picture of a modern battle that had been painted) and the Death of General Montgomery in the Attack on Quebec (both New Haven, CT, Yale U. A.G.), and shortly afterwards he started three other Revolutionary War battle scenes. West's paintings served as theoretical and pictorial sources, while the active compositions, animated brushwork, rich colours and dramatic lighting were derived from Copley's Death of Major Peirson (17824; London, Tate; see Copley, john singleton, fig. 2). A high moral tone pervades the series: officers on opposing sides are shown to display courage, dignity and kindness; and American history is raised to the level of timeless example. The best-known picture in the series is the Declaration of Independence (New Haven, CT, Yale U. A.G.; see fig.), which Trumbull began in July 1786 in Paris, Jefferson having provided a first-hand account of the event. Jefferson, Benjamin Franklin and John Adams were painted from life directly on to the canvas in 1787, but the majority of the likenesses in this and in the other history paintings were added from small pencil studies or miniature oil on mahogany panels made several years later (the largest number of studies is in the Yale University Art Gallery, New Haven, CT). These miniature portraits show Trumbull's talent at its best, the fluid brushstrokes and subtle glazes, spontaneity and sensitive renderings of personality, a mark of his work during the 1790s. In 1789 Trumbull returned to America, where he hoped to make his fortune from the sale of engravings after his history paintings, but he was able to sell few subscriptions. Discouraged, he ceased painting and in 1794 returned to Europe, where he remained for almost seven years, serving the new American government in various diplomatic and administrative posts. After his marriage to the Englishwoman Sarah Hope Harvey in 1800, Trumbull once again determined to paint for a living. In 1804 the Trumbulls moved to New York, where he soon became the city's pre-eminent portrait painter. Despite his dislike of the 'mere copying of faces', portraits ultimately constituted the largest part of his oeuvre, the sitters being among the foremost political and cultural figures of New York society (e.g. Robert Lenox and Mrs Robert Lenox, both 1805; New York, Pub. Lib.). For the most part, these later works are uninspired. Trumbull had a short-lived interest in landscape, which led him to create a number of compositions whose structure anticipates the wilderness landscapes of the later Hudson River school (e.g. Falls of the Yantic at Norwich, c. 1806; Norwich, CT, Slater Mem. Mus.). Throughout his career he painted religious and literary subjects. During a stay in England (180816), prolonged because of the War of 1812, he produced a series of monumental subjects (e.g. Woman Taken in Adultery, 2.39×1.71 m, 1811; New Haven, CT, Yale U. A.G.), which show the influence of West's late paintings. On returning to New York, he was elected a director of the new American Academy of Fine Arts, and from 1817 to 1835 he served as its president, an important position that he used largely for his own advancement. He considered the commission of 1817 from Congress to paint four life-size Revolutionary War scenes for the Rotunda of the US Capitol in Washington, DC, to be his crowning achievement. He chose as subjects replicas of his original versions of the Declaration of Independence and the Surrender of Lord Cornwallis at Yorktown, October 19, 1781 (New Haven, Yale U. A.G.) and added the Resignation of General Washington, December 23, 1783, and the Surrender of General Burgoyne at Saratoga, October 16, 1777. The paintings were installed in the Rotunda in November 1826. Trumbull's art had a relatively limited impact on other artists. Despite his desire to be a mentor to younger artists, his increasingly intransigent ideas about artistic training alienated most younger members of the New York art world and resulted in the founding in 1826 of the National Academy of Design. By 1830 Trumbull received few commissions, and he was in poor health and difficult financial circumstances. Feeling unappreciated for his artistic contributions and concerned that the complete history series should find a permanent exhibition space, in 1831 he sold most of the works he possessed, including the Revolutionary War series, to Yale College in return for an annuity and the establishment there of a Trumbull Gallery, designed by himself with the help of architects Ithiel Town and A. J. Davis. Of his architecture, which included unexecuted plans for the expansion of Yale College, only the Meeting House in Lebanon, CT (18046), in an unadorned Neo-classical idiom, survives. At his death he was buried, as he had requested, beneath his life-size portrait of George Washington at the Battle of Trenton (1792; New Haven, CT, Yale U. A.G.) in the Trumbull Gallery. (Grove Art Online
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Work Style Period:
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Neoclassical
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Work Style Period:
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19th century
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Work Subject:
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Independence Hall (Philadelphia, Pa.)
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Work Subject:
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Livingston, Philip (1716-1778)
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Work Subject:
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McKean, Thomas (1734-1817)
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Work Subject:
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Rutledge, Edward (1749-1800)
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Work Subject:
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Dickinson, John (1732-1808)
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Work Subject:
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Read, George (1733-1798)
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Work Subject:
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Hancock, John (1737-1793)
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Work Subject:
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Thomson, Charles (1729-1824)
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Work Subject:
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Wolcott, Oliver (1726-1797)
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Work Subject:
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Williams, William (1731-1811)
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Work Subject:
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Huntington, Samuel (1731-1796)
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Work Subject:
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Witherspoon, John (1723-1794)
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Work Subject:
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Lewis, Francis (1713-1803)
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Work Subject:
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Stockton, Richard (1730-1781)
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Work Subject:
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Franklin, Benjamin (1706-1790)
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Work Subject:
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Jefferson, Thomas (1743-1826)
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Work Subject:
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Livingston, Robert R. (1746-1813)
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Work Subject:
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Sherman, Roger (1721-1793)
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Work Subject:
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Adams, John (1735-1826)
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Work Subject:
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Hopkinson, Francis (1737-1791)
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Work Subject:
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Wilson, James (1742-1798)
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Work Subject:
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Hewes, Joseph (1730-1779)
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Work Subject:
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Hooper, William (1742-1790)
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Work Subject:
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Clark, Abraham (1726-1794)
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Work Subject:
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Paine, Robert Treat (1731-1814)
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Work Subject:
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Gerry, Elbridge (1744-1814)
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Work Subject:
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Rush, Benjamin (1746-1813)
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Work Subject:
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Morris, Robert (1734-1806)
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Work Subject:
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Clymer, George (1739-1813)
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Work Subject:
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Ellery, William (1727-1820)
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Work Subject:
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Hopkins, Stephen (1707-1785)
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Work Subject:
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Walton, George (1749 or 50-1804)
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Work Subject:
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Heyward, Thomas (1746-1809)
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Work Subject:
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Middleton, Arthur (1742-1787)
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Work Subject:
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Floyd, William (1734-1821)
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Work Subject:
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Morris, Lewis (1726-1798)
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Work Subject:
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Chase, Samuel (1741-1811)
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Work Subject:
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Paca, William (1740-1799)
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Work Subject:
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Clinton, George (1739-1812)
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Work Subject:
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Adams, Samuel (1722-1803)
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Work Subject:
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Lee, Richard Henry (1732-1794)
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Work Subject:
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Harrison, Benjamin (ca. 1726-1791)
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Work Subject:
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Lynch, Thomas (1749-1779)
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Work Subject:
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Bartlett, Josiah (1729-1795)
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Work Subject:
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Whipple, William (1730-1785)
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Work Subject:
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Wythe, George (1726-1806)
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Work Subject:
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Declaration of Independence, United States
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Work Subject:
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Carroll, Charles (1737-1832)
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Work Subject:
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Founding Fathers of the United States
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Work Subject:
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Willing, Thomas (1731-1821)
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Work Subject:
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American Revolution, 1775-1783
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Work Subject:
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politics
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Work Subject:
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United States history
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Work Subject:
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history paintings
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Work Worktype:
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oil paintings
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Work Worktype:
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paintings (visual works)
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Work Category (VRC classification):
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paintings
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Work Material and Technique (display):
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oil on canvas
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Work Measurements (display):
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360 cm (H) x 540 cm (W)
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Work Location (Repository or Site) name:
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Capitol Rotunda (United States Capitol, Washington, D.C.)
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Work Location (Repository or Site) role:
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repository
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Work Location (Geographic) name:
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Washington, D.C.
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Image Rights (display):
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© Ronald Wiedenhoeft. Licensed for educational use via Scholars Resource: Saskia, Ltd.
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Image Rights license agreement:
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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.
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Work Rights (display):
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public domain
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Terms of Agreement and Conditions of Use:
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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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CU Copyright Statement:
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The contents of the University of Colorado Digital Library are available for your use in research, teaching, and private study. Some of these items are protected by the U.S. Copyright Law (Title 17, U.S.C.) and some items may have additional restrictions. If you use the items in this collection, make sure you abide by any restrictions stated in the descriptive data window. The nature of these collections often makes it difficult to determine the copyright status of an item. We have made every effort to provide information about copyright owners and other restrictions in the descriptive data window. Ultimately, however, it is your responsibility to use the item according to the terms governing its use. If you are a copyright holder and the information is either not listed or listed incorrectly, please let us know so that we can update the information on our site.
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Holding Institution:
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University of Colorado at Boulder
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Collection:
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Art and Art History Visual Resources Center
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Collection info and contact:
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For information about this collection, see
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