039

  • Portrait of a Lady in a Blue Gown

  • ca. 1748
  • Attributed to John Hesselius (American, born to Swedish immigrant, 1728-1778) [Carlton Neville and Stephanie Strass]
  • Oil on canvas
  • 119.9 x 89.5 cm., 47-1/4 x 35-1/4"
  • Gift of Neville-Strass Collection through Catherine Carter Goebel, Paul A. Anderson Chair in the Arts; Conservation Funding Assisted by Mr. and Mrs. George and Pat Olson, Mr. Dan Churchill, and Gift of Services by Mr. Barry Bauman, Paul A. Anderson Art History Collection, Augustana College 2004.4

Essay by Emily Vokt Ziemba, Class of 1998

In eighteenth-century American portraiture, definitive attributions are rare. Such is the case with this portrait of a lady in a blue gown. Although the attribution to John Hesselius remains tentative, it is extremely persuasive. It was first suggested when the painting was sold at auction in 1988 (Sloan's 1988). Since that time the donors conducted extensive research and located a similar portrait of a female member of the Byrd family, likewise attributed to John Hesselius (Antiques 1962). The woman in the Byrd picture is wearing an almost identical blue gown with white trim and a cord tied loosely around her waist. Both women have silk drapes, loosely slung around their backs, folded in identical patterns. The compositions are also similar. Several elements are quoted nearly verbatim, such as the pose of the women, the placement of the pedestals and the backgrounds. Since the two portraits appear to be by the same artist, we can likewise consider this painting to also be by John Hesselius.

Hesselius was one of the first successful native-born American portrait painters. He most likely received his earliest training from his father, the Swedish born painter, Gustavus Hesselius (1682-1755), known principally for church painting. Like most colonial artists of the time, the younger Hesselius absorbed influences from a variety of sources, such as fellow native-born artist Robert Feke and English artist John Wollaston. If this picture is indeed the work of John Hesselius, then it may date from the early 1750s, when he first began mimicking Wollaston's emphasis on luxurious fabrics with rich folds, while simplifying decorative patterns. Augustana's portrait foreshadows the impact Hesselius would have on the younger generation of American colonial portraitists. The woman's solid mass, inescapable presence and direct gaze are traits that Hesselius's student, Charles Willson Peale (1741-1827), would incorporate into his own portraits, including those of George Washington (Saunders and Miles 251-253).

Because Hesselius was one of the most mobile colonial portraitists, the identity of this woman remains a mystery. Hesselius traveled to Philadelphia, to Maryland and to Virginia, fulfilling commissions. As a result, this woman could have been from any of those cities or any community in between. Although her costume clearly indicates she hails from a wealthy family, there is nothing shown in the painting that could elucidate her identity. She is not wearing jewelry. Nor is she holding a book or musical instrument and is not wearing a specific uniform. The absence of these details maintains this woman's anonymity.

Despite the fact that this painting perhaps encourages more questions than it answers, it is an example of a particularly dynamic period in American history. It illustrates the emergence of a powerful middle class that is simultaneously exuding its British colonial pride, while creating strong, independent communities, economic markets and individual identities. Moreover, this portrait was created when the status of painters was shifting from practical craftsmen to learned gentlemen. The work of Hesselius and this painting specifically embody this new American spirit.