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work of the month

Portrait of Moses Myers, ca. 1808
Portrait of Eliza Myers, ca. 1808
Gilbert Stuart, American (1755-1823)
Oil on poplar board
Moses Myers House

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If the walls of the historic Moses Myers House could talk, they would speak of a prominent early Norfolk citizen, his family, and the five generations of Myers that resided in this stately house. In 1787, Moses Myers wed Eliza Chapman Judah in New York. By 1792, a three-story brick house on the corner of Freemason and Bank Streets had been built for Moses and his blossoming family, which would include nine children. The accommodating structure held the markings of an established member of the community and was furnished with objects which spoke to the social status of this early Jewish family. Considered "the financial nabob (a man of prominence) of Main Street," Moses Myers was an entrepreneur in importation-exportation of goods. He also served as the local French Consul, a member of the Chamber of Commerce, and the Superintendent to the Norfolk Branch Bank of Richmond.

Nestled on the wall of the drawing room in the historic Myers House, pendant portraits of Moses Myers and his wife Eliza are displayed. As the showplace of the home, the drawing room would have been decorated with the finest furniture and interior embellishments available at the time. The drawing room or front parlor was considered the most formal space in a Federal Period (1770-1830) house. During the period, numerous well-to-do persons of the Jewish faith chose to have portraits painted to affirm their status in early American society. Who would have been qualified? Who was the leading portraitist of the day? Why, none other than Gilbert Stuart! Known as the "Father of American Portraiture," Gilbert Stuart captured an array of prestigious persons of the 18th century, including the first five presidents.

Stuart found inspiration from the traditions of the Venetian and Flemish schools. He resided in several countries in Europe, exhibited works at the Royal Academy in London, and studied with Benjamin West. He painted with purposeful intent and a creativity to capture the essence and persona of the sitter and not the stereotypical suggested gender role.

Those aspirants who visited Stuart were usually warmly received-in the manner of (Benjamin) West-and not infrequently given free lessons. Quite a few of them carefully recorded the master's palette colors and his way of applying flesh color, but they were frustrated in their attempts to codify the procedure. "His manner of laying in his colour can not I think be described," (John) Codgell wrote, "and I fear cannot be imitated." To work and be told that "in examining critically the face you will be able to apply many little tints of various colors which will add to the truth of resemblance was not enough.

What are pendant portraits? Pendant portraits are a pair of paintings or interdependent works that were conceived and produced as companions. Interestingly, the pendants are almost mirror images in the treatment of their posture, prop, and the background. Both Moses and Eliza are seen in a half-length format, from the head to the mid-section. Posed at slight angle, Moses' right shoulder is turned toward the viewer. He is seated at a table with a letter in hand and stack of bound envelopes awaiting his attention, as if we have interrupted him from his task. His eyes are affixed upon the viewer. The red crimson tablecloth complements the red gilded armchair. Appropriately dressed in gentleman attire, he wears a black frock, a white waistcoat, a white neck cloth, shirt frills, a tie, and powdered hair. Dark undertones in the background appear to lighten with flecks of tan in the lower right corner. In turn, Eliza is posed at a slight angle with her left shoulder toward the viewer. Her eyes gaze upon the viewer as her right hand gently lays across her left. Her rosy cheeks give a "healthy glow," in contrast of her all white attire: low-cut French Empire dress with cap sleeves, a lace shawl, and a turban. Several curls fall gingerly on her forehead and temple. Seated in a gilded red armchair, flecks of tan can be seen in the lower left hand corner and the undertones gradually become dark.

Stuart's prowess as a portraitist did not come without a price. He was unable to complete numerous works he began, notably a 1796 painting of George Washington that was later used as the model for the portrait on the one dollar bill. Even with his erratic highs and lows, persons from the middle and upper classes sought his painterly time and attention until his death in July of 1823.

Later in 1823, Thomas Sully was commissioned to finish a full-length painting of President John Quincy Adams begun by Stuart, of which only the head had been painted. Take a moment to look at the portrait of John Myers, the eldest son of Moses and Eliza. Interestingly, this portrait was painted by Thomas Sully. How do the portraits differ? How are the portraits similar?

-- by Channon Humphrey