Sammendrag
Det mest kjente maleriet av Jane Stuart er Commodore Oliver Hazard Perry (1823), i samlingen til Toledo Museum of Art, Toledo. De neste oppføringene er A scene from Laurence Sterne's novel "A Sentimental Journey Through France and Italy." (1834) og George Washington (1732-1799), after Gilbert Stuart (1755-1828) (1855). Katalogen dokumenterer 7 verk av Jane Stuart; de 6 oppføringene nedenfor er de mest kjente, oppført i rangert rekkefølge med dato, museum og beskrivelse.
Jane Stuart: de 10 viktigste maleriene
Jane Stuart: innehavere av museer
De 5 museene som innehar flest av maleriene på denne siden.
| Museum | By | Verker av Jane Stuart | Malerier fra denne listen |
|---|---|---|---|
| Cambridge | 2 | George Washington (1732-1799), after Gilbert Stuart (1755-1828), Florence Sparks Moore (1845-1915) | |
| Toledo | 1 | Commodore Oliver Hazard Perry | |
| Vanderbilt Museum of Art | Nashville | 1 | A scene from Laurence Sterne's novel "A Sentimental Journey Through France and Italy." |
| Birmingham | 1 | Oliver Hazard Perry | |
| Boston | 1 | Alicia Boylston |
Jane Stuart: hovedmaleri for hvert tiår
Verk per tiår
Velg et tiår for å vise dets viktigste maleri.
A scene from Laurence Sterne's novel "A Sentimental Journey Through France and Italy."
George Washington (1732-1799), after Gilbert Stuart (1755-1828)
Jane Stuarts malerier: referansespørsmål
Hvilket maleri av Jane Stuart er det mest kjente?Vis svaret
Commodore Oliver Hazard Perry (1823), Toledo Museum of Art, Toledo. De følgende oppføringene er A scene from Laurence Sterne's novel "A Sentimental Journey Through France and Italy." (1834) og George Washington (1732-1799), after Gilbert Stuart (1755-1828) (1855).
Hvor gammel var Jane Stuart da Commodore Oliver Hazard Perry ble malt?Vis svaret
11 år: Jane Stuart ble født i 1812, og Commodore Oliver Hazard Perry er datert 1823.
Hvor mange verk av Jane Stuart er dokumentert?Vis svaret
Katalogen inneholder 7 verk av Jane Stuart, datert mellom 1823 og 1865.
Hvilke museer har de mest kjente maleriene til Jane Stuart?Vis svaret
Hovedsakelig i Harvard Art Museums (Cambridge), Toledo Museum of Art (Toledo) og Vanderbilt Museum of Art (Nashville). Tabellen over viser den fullstendige fordelingen.
I hvilken periode ble Jane Stuarts mest kjente verk malt?Vis svaret
I 1850s: 2 av de 6 verkene som er oppført på denne siden er datert til denne perioden, inkludert George Washington (1732-1799), after Gilbert Stuart (1755-1828).
Hvilke er de tidligste og de nyeste verkene av Jane Stuart på denne listen?Vis svaret
Det eldste verket som er oppført her er fra Commodore Oliver Hazard Perry (1823); det nyeste er fra Florence Sparks Moore (1845-1915) (1865).
Hvilke verk av Jane Stuart er i samlingen til Harvard Art Museums?Vis svaret
George Washington (1732-1799), after Gilbert Stuart (1755-1828) og Florence Sparks Moore (1845-1915) er blant de 2 verkene på denne siden i samlingen til Harvard Art Museums, Cambridge.
Jane Stuart: biografiske noter
The Shadow of a Legacy
In a Boston studio during the early 19th century, a young girl watches the light shift across a canvas. She is not permitted to hold the brush or receive formal instruction. Instead, Jane Stuart spends her childhood grinding pigments and filling in the backgrounds of her father's large-scale works. Her father, Gilbert Stuart, believes that true talent requires no formal training, a philosophy that leaves Jane to learn the nuances of light and form through observation and the quiet labor of an assistant. She absorbs the mechanics of portraiture by watching him work, absorbing the subtle movements of a hand that will eventually define her own.
The atmosphere of the household is one of both artistic intensity and emotional weight. As the youngest of many children, Jane navigates a life shaped by her father's mental struggles and the sudden, heavy necessity of survival. When Gilbert Stuart dies, the family's financial stability vanishes. At sixteen, the responsibility of supporting her family falls to her. She moves from the role of an observer to a professional, establishing a studio in Boston to secure a livelihood through the very skills she was once forbidden to formally study.
The Art of the Miniature
Jane Stuart finds her niche in the delicate, precise world of miniature painting. While her father's reputation rests on large-scale oils, Jane masters the small-scale portrait, a medium requiring immense control and a steady hand. She becomes particularly known for her depictions of George Washington. These are not merely copies; they are interpretations of her father's famous likenesses. Her versions of Washington are highly sought after, with one notable example finding its place in the Kennedy School of Government at Harvard University.
Her technical skill allows her to navigate the transition from the studio of a master to a professional career in her own right. She works in oils and miniatures, capturing the likenesses of her era with a precision that rivals the men of her profession. Her move to Newport, Rhode Island, marks a significant chapter in her career. In this coastal town, she becomes the first woman to establish herself as a professional portrait painter, carving out a space for female artists in a landscape dominated by male contemporaries.
A Life in Transition
The trajectory of her life is marked by both resilience and loss. A fire in the 1850s destroys her Boston studio, consuming much of her work and the personal mementos of her father's life. This loss does not end her practice. She continues to paint, eventually becoming a well-known figure in Newport, often referred to as “Miss Jane.” Her life reflects the shifting social and economic realities of 19th-century America, moving from the intense, crowded domesticity of a famous artist's household to the independent life of a professional woman in a growing coastal community.
Her historical significance is tied to her ability to sustain a family and a career through sheer technical competence. She did not merely replicate the past; she translated the visual language of her father into a sustainable, professional practice. By the time of her death in 1888, she had transitioned from a girl grinding colors in the shadows of a master to a woman who had secured her own place in the history of American portraiture.

