Artist
Born in London, United Kingdom
John Sartain: A Pioneer of Mezzotint Engraving in America
Born: London, United Kingdom (October 24, 1808)
Died: Philadelphia, Pennsylvania (October 25, 1897)
Nationality: British-American
Early Life and Training
Sartain's early life was marked by hardship; he became responsible for his family’s support at a young age.
He began working as an assistant scene painter at the age of eleven, gaining initial artistic experience.
From 1823 to 1830, he apprenticed under engraver John Swaine, mastering line engraving and developing skills in heraldry and letter work.
He studied painting under John Varley and Henry James Richter, broadening his artistic foundation.
Career and Artistic Development
In 1830, Sartain emigrated to the United States and settled in Philadelphia, marking a pivotal shift in his career.
Initially, he focused on portrait painting in oil and miniatures before dedicating himself primarily to engraving.
He pioneered mezzotint engraving in America, reviving a technique that had been popular in England.
His work for Graham's Magazine (1841-1848) significantly contributed to the publication’s success and established his reputation.
Sartain became editor and proprietor of Campbell's Foreign Semi-Monthly Magazine (1843) and later, Sartain's Union Magazine (1849-1852), showcasing his editorial and publishing abilities alongside his artistic endeavors.
He produced a vast quantity of plates for book illustrations throughout his career, demonstrating remarkable productivity.
Major Achievements and Notable Relationships
Pioneering Mezzotint: Sartain is best known for re-establishing mezzotint engraving as a significant art form in the United States.
Friendship with Edgar Allan Poe: A notable episode involved Sartain providing refuge to a distressed Edgar Allan Poe, who sought assistance and confided in him about perceived threats. This event led to the publication of Poe’s poem “The Bells” in Sartain's Union Magazine posthumously.
Artistic Leadership: He held various leadership roles within Philadelphia's art community, including positions with the Artists' Fund Society, School of Design for Women, and Pennsylvania Academy of Fine Arts.
Centennial Exposition: Sartain served as director of the art department at the 1876 Centennial Exposition in Philadelphia, earning recognition from the King of Italy with the title of Cavaliere of the Order of the Crown of Italy.
Legacy and Historical Significance
Sartain’s dedication to art education and his contributions to various artistic institutions helped foster a vibrant cultural landscape in Philadelphia.
His revival of mezzotint engraving ensured its continued presence in American art, providing a valuable technique for reproducing paintings and creating original prints.
The Sartain family's legacy extended beyond John himself, with several of his children also pursuing artistic careers, further solidifying their impact on the American art scene.
His autobiography, Reminiscences of a Very Old Man (1899), provides valuable insights into his life and career.
Museum
On show in Washington, D.C., United States of America
The National Portrait Gallery in Washington, D.C.
Located in Washington, D.C., United States of America, the National Portrait Gallery is a part of the Smithsonian Institution. Since its opening in 1968, following its founding in 1962, the institution has functioned as a repository for the visual history of the American people. The collection is defined by specific legislative parameters, which limit the holdings to paintings, prints, drawings, and engravings. This focus ensures that the gaze remains fixed upon the rendered likeness of the individual.
The scale of the collection is substantial. By February 2013, the museum housed 21,200 works of art. These pieces offer a presence that transcends mere documentation, providing a way to encounter the figures who have shaped the nation's narrative. The selection of media allows for a variety of textures and tones, from the precision of a fine engraving to the weight of an oil painting.
The museum's holdings include significant works such as:
Muhammad Ali, 1970 - Karsh Of Ottawa
John Singleton Copley Self-Portrait, 1784 - John Singleton Copley
Samuel F. B. Morse. Self-portrait, 1812 - Samuel Finley Breese Morse
Langston Hughes, 1925 - Leon Underwood
The Historic Old Patent Office Building
The museum is housed within the historic Old Patent Office Building, a National Historic Landmark that anchors the institution. Constructed between 1836 and 1867, the structure possesses a physical weight that commands the surrounding space. Its sandstone and marble façade provides a sense of permanence, while the porticoes, modeled after the Parthenon, lend an air of classical order to the site. The architecture creates a specific atmosphere of reverence, where the very stones seem to absorb the history held within the walls.
Inside, the building's soaring spaces and intricate details define the experience of the visitor. Grand corridors and ornate plasterwork frame the portraits, while abundant natural light filters through the architecture to illuminate the subjects. This environment provides a fitting backdrop for the collection, where the physical setting is as significant as the art it contains. The building's Greek Revival style reflects the aspirations of a young nation, emphasizing strength and intellectual pursuit through its imposing design.
A Diverse Collection of American Figures
The collection focuses on the individuals who have shaped the nation, including artists, politicians, scientists, inventors, activists, and performers. Presidential portraits occupy a central place within these halls, providing a visual record of leadership. Alongside these figures, a comprehensive collection of the nation's first ladies offers a perspective on the lives of women who have occupied the White House. These portraits represent a wide breadth of the American experience, moving from the formal presence of early statesmen to the more candid depictions of modern figures.
Artistic movements find expression throughout the galleries, ranging from the structured compositions of Academic Classicism to the more experimental forms of Abstract Expressionism and Impressionism. This variety ensures that the collection reflects changing aesthetic sensibilities across different eras. The works are not merely representations but are specific records of character and era, captured through diverse media such as oil paintings, sketches, and photography.
Langston Hughes, about 1925
Madam C. J. Walker, 1914
George Washington, 1812
Abraham Lincoln, 1881
Muhammad Ali, 1970
Masterpieces of the National Collection
The presence of Gilbert Stuart's unfinished Athenaeum Portrait of George Washington commands the space. This work carries a specific weight, its incomplete nature offering a rare glimpse into the process of capturing a national figure. Nearby, the gaze of John Singleton Copley meets the viewer in his 1784 Self-Portrait. The brushwork reveals a deliberate, quiet confidence in the artist's own likeness.
The collection moves through different eras and mediums, capturing the essence of American identity through varied lenses. Samuel Finley Breese Morse’s 1812 Self-portrait provides a window into the early nineteenth century, while the 1970 portrait of Muhammad Ali by Karsh Of Ottawa presents a different kind of intensity. These works exist as physical records of character and presence.
Athenaeum Portrait of George Washington, Gilbert Stuart
Self-Portrait, 1784, John Singleton Copley
Self-portrait, 1812, Samuel Finley Breese Morse
Muhammad Ali, about 1970, Karsh Of Ottawa
Ongoing Commissions and Future Exhibitions
The museum actively shapes the visual record of the nation by commissioning new portraits, ensuring the collection remains a dynamic reflection of contemporary life. This practice of documenting leadership has been a consistent part of the institution's mission for decades. The tradition of commissioning official portraits of presidents began in 1998 with George H. W. Bush. Following this, the practice expanded to include the women of the White House, with commissions for First Ladies starting in 2000 with Hillary Clinton.
Looking toward the future, the institution continues to evolve through planned exhibitions and new artistic perspectives. A scheduled reopening in September 2025 will feature an exhibition centered on the work of Amy Sherald. This upcoming presentation aims to engage audiences through her specific approach to portraiture and identity. Such additions ensure that the gallery remains a living archive, capturing the faces of those who define the current era alongside the figures of the past.
