Samuel Morse - Painting

Painting

Morse expressed some of his Calvinist beliefs in his painting Landing of the Pilgrims, through the depiction of simple clothing as well as the people's austere facial features. His image captured the psychology of the Federalists; Calvinists from England brought to North America ideas of religion and government, thus linking the two countries. This work attracted the attention of the notable artist Washington Allston. Allston wanted Morse to accompany him to England to meet the artist Benjamin West. Allston arranged — with Morse's father — a three-year stay for painting study in England, and young Morse set sail with the older artist aboard the Lybia on July 15, 1811.

In England, Morse perfected his painting techniques under Allston's watchful eye; by the end of 1811, he gained admittance to the Royal Academy. At the Academy, he was moved by the Neo-classical art of the Renaissance and paid close attention to the works of Michelangelo and Raphael. After observing and practicing life drawing and absorbing its anatomical demands, the young artist produced his masterpiece, the Dying Hercules. (He first made a sculpture as a study for the painting.)

To some, the Dying Hercules seemed to represent a political statement against the British and also the American Federalists. The muscles symbolized the strength of the young and vibrant United States versus the British and British-American supporters. During Morse’s time in Britain, the Americans and British were engaged in the War of 1812. Both societies were conflicted over loyalties. Anti-Federalist Americans aligned themselves with the French, abhorred the British, and believed a strong central government to be inherently dangerous to democracy.

As the war raged on, Morse's letters to his parents became more anti-Federalist in tone. In one such letter Morse wrote, "I assert that the Federalists in the Northern States have done more injury to their country by their violent opposition measures than a French alliance could. Their proceedings are copied into the English papers, read before Parliament, and circulated through their country, and what do they say of them... they call them (Federalists) cowards, a base set, say they are traitors to their country and ought to be hanged like traitors."

Although Jedidiah Morse did not change Samuel's political views, he appeared to continue to be an influence. Critics believe that the elder Morse's Calvinist ideas are integral to Morse’s Judgment of Jupiter, another significant work completed in England. Jupiter is shown in a cloud, accompanied by his eagle, with his hand spread above the parties and he is pronouncing judgment. Marpessa, with an expression of compunction and shame, is throwing herself into the arms of her husband. Idas, who tenderly loved Marpessa, is eagerly rushing forward to receive her, while Apollo stares with surprise... at the unexpectedness of her decision...

Critics have suggested that Jupiter represents God’s omnipotence — watching every move that is made. Some call the portrait a moral teaching by Morse on infidelity. Although Marpessa fell victim, she realized that her eternal salvation was important and desisted from her wicked ways. Apollo shows no remorse for what he did, but stands with a puzzled look. Many American paintings throughout the early nineteenth century had religious themes, and Morse was an early exemplar of this. Judgment of Jupiter allowed Morse to express his support of Anti-Federalism while maintaining his strong spiritual convictions. West sought to present the Jupiter at another Royal Academy exhibition, but Morse's time had run out. He left England on August 21, 1815, to return to the United States and begin his full-time career as a painter.

The years 1815–1825 marked significant growth in Morse’s paintings, as he sought to capture the essence of America’s culture and life. He painted the Federalist former President John Adams (1816). He hoped to become part of grander projects. The Federalists and Anti-Federalists clashed over Dartmouth College. Morse painted portraits of Francis Brown — the college’s president — and Judge Woodward (1817), who was involved in bringing the Dartmouth case before the U.S. Supreme Court.

Morse also sought commissions among the elite of Charleston, South Carolina. Morse’s 1818 painting of Mrs. Emma Quash symbolized the opulence of Charleston. The young artist was doing well for himself. Between 1819 and 1821, Morse experienced great changes in his life, and his commissions dropped off because of the Panic of 1819. Unable to stop the rift within Calvinism, his father was forced to resign from his ministerial position, which he had held for three decades. The new branch that formed was the Congregational Unitarians, which Morse as pastor thought were anti-Federalists, as they had a different belief related to religious salvation.

Although Samuel Morse respected his father’s religious opinions, he sympathized with the Unitarians. Among the converts to Unitarianism were the prominent Pickerings of Portsmouth, New Hampshire, whom Morse had painted. Some critics thought his sympathies represented his own anti-Federalism. Morse was commissioned to paint President James Monroe in 1820. He embodied Jeffersonian democracy by favoring the common man over the aristocrat.

Morse had moved to New Haven. His commissions for the Hall of Congress (1821) and a portrait of the Marquis de Lafayette (1825) engaged his sense of democratic nationalism. The Hall of Congress was designed to capitalize on the success of François-Marius Granet's The Capuchin Chapel in Rome, which toured the United States extensively throughout the 1820s, attracting audiences willing to pay the 25-cent admission fee.

The artist chose to paint the House of Representatives, in a similar way, with careful attention to architecture and dramatic lighting. He also wished to select a uniquely American topic that would bring glory to the young nation, and his topic did just that, showing American democracy in action. He traveled to Washington D.C. to draw the architecture of the new halls, placing eighty individuals within the painting. He chose to portray a night scene, balancing the architecture of the Rotunda with the figures, and using lamplight to highlight the work. Pairs of people, those who stood alone, individuals bent over their desks working, were each painted simply but with faces of character. Morse chose nighttime to convey Congress’ dedication to the principles of democracy transcended day.

The Hall of Congress failed to draw a crowd at an exhibit in New York City. John Trumbull’s Declaration of Independence had won popular acclaim in 1820. Viewers may have felt that the architecture of the Hall of Congress overshadows the individuals, making it hard to appreciate the drama of what was happening.

Morse was honored to paint the Marquis de Lafayette, the leading French supporter of the American Revolution. He felt compelled to paint a grand portrait of the man who helped to establish a free and independent America. In his image, he enshrouds Lafayette with a magnificent sunset. He has positioned Lafayette to the right of three pedestals: one has a bust of Benjamin Franklin, another of George Washington, and the third seems reserved for Lafayette. A peaceful woodland landscape below him symbolized American tranquility and prosperity as it approached the age of fifty. The developing friendship between Morse and Lafayette, and their discussions of the Revolutionary War, affected the artist after his return to New York City.

From 1830 to 1832, Morse traveled and studied in Europe to improve his painting skills, visiting Italy, Switzerland and France. During his time in Paris, he developed a friendship with the writer James Fennimore Cooper. As a project, he painted miniature copies of 38 of the Louvre's famous paintings on a single canvas (6 ft. x 9 ft), which he entitled The Gallery of the Louvre. He completed the work upon his return to the United States.

On a subsequent visit to Paris in 1839, Morse met Louis Daguerre and became interested in the latter's daguerreotype — the first practical means of photography. Morse wrote to the New-York Observer a letter describing the invention, a letter which was published widely in the American press and provided a broad awareness.

Some of Morse's paintings and sculptures are on display at his Locust Grove estate in Poughkeepsie, New York.