Iconography of American Portraiture

From the elaborate lace and jewelry of the Freake Limners (1671) , to the nectarines in John Singleton Copley’s Mrs. John Winthrop(1773), various traditional symbols showcase themselves throughout American portraiture. The artists chosen for this exhibition use different objects, people, and gestures to give light to the viewer about what the image is really about. These paintings are not just for aesthetic pleasure or a commissioned piece, but rather emanate a political, religious, cultural, or gender message. As the paintings move from the 17th century to 19th century, the purpose remains the same. The artist is trying to tell something more. Whether it is Mount, Tanner and Eakins discussing the importance of the education or Sully, The Freake Limner, and Copley showing social status, every piece has its purpose and goes beyond just a face. Portraiture was a way in which the American people could advertise themselves not only on U.S soil but as well in Europe during the beginnings of their nation. Using portraiture as a platform, artists could portray their subjects in alternate views, using different gestures, objects and people in order to represent various themes. In turn, the incorporation of various symbols specific to particular an "American" style, secured the country's confidence and tied together a sense of nationalism against their European counterparts. It is in this distinction alone that lies an important American tradition: to gather all differences and create it as one true body of people. This book seeks to explore the iconography used in American portraiture.