Student Artwork Guide
Copyright This work is in the public domain. John Wesley Jarvis died in 1839; copyright lasts 70 years after the artist’s death, so it ended in 1909.
In context
Commodore Oliver Hazard Perry — John Wesley Jarvis
Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 58 at death.
Shaded: the lifetime of John Wesley Jarvis (1781–1839) every dated painting, decade by decade
First works: up to 1810 Main working years: 1810–1820 Late works: from 1820
Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them
This record has no exact year on file — using the artist's lifetime and the work's style, what decade would you guess?
Pick one work above: name two things it shares with this one, and one thing that's different.
More works to set beside this one: originaluniqueart.com/en/art/similar/john-wesley-jarvis-commodore-oliver-hazard-perry-8CEGC4-en/
Measured from the image
Main colour
Espresso #48371d
Catalogued palette
These colours inside the artist’s whole palette Find other paintings by colour
The ten leading countries
Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.
Together these works take 100.0% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 66 works by this artist, of which 13 were looked at at least once. This painting ranks 9 of them, with 5.9% of that attention. The same counts, month by month
Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.
Artist and museum
Born in South Shields, United Kingdom
John Wesley Jarvis, a name resonant within the annals of early 19th-century American portraiture, was an artist whose life mirrored the burgeoning energy and complex contradictions of a young nation. Born in South Shields, England, around 1780 or 1781 – records remain somewhat ambiguous on the precise date – Jarvis arrived in the United States with his family during a period of significant transatlantic migration. This formative experience, coupled with a lineage connected to the influential Methodist leader John Wesley, instilled within him a unique perspective that would subtly inform both his artistic vision and his often-flamboyant personal style. His early years were spent in Philadelphia, where he began to absorb the fundamentals of his craft, frequenting the studio of Matthew Pratt, a respected colonial portraitist, and encountering other artists like Christian Gullager. However, it was his apprenticeship under Edward Savage, an English engraver and artist who had also made his mark in America, that truly set him on his path. This period wasn’t solely focused on painting; Jarvis honed skills in engraving alongside David Edwin, a versatility that would prove advantageous throughout his career. The move to New York City with Savage in 1801 marked the true beginning of Jarvis's independent artistic journey.
The year 1803 witnessed the formation of a pivotal partnership between Jarvis and Joseph Wood, an association that lasted for seven years and profoundly shaped his development as an artist. This collaboration wasn’t confined to a single medium; together they produced engravings, delicate miniatures, and increasingly ambitious large-scale portraits. It was through Edward Malbone that Jarvis refined his skill in miniature painting, but it was the broader exploration of oil painting during this time that truly began to define his artistic voice. The partnership also demonstrated a shrewd entrepreneurial spirit – operating a drawing school and creating affordable silhouette portraits allowed them to reach a wider audience while simultaneously establishing their reputation. However, even amidst growing professional success, Jarvis’s personality began to attract attention. He cultivated an eccentric lifestyle, marked by distinctive dress and a penchant for lively conversation, traits that would become synonymous with his name and occasionally overshadow the merits of his work in the eyes of some contemporaries. This willingness to embrace individuality, however, also contributed to his appeal among certain segments of society, particularly those who appreciated a touch of unconventionality.
Jarvis’s career was characterized by extensive travel throughout the United States, a testament to both his ambition and his ability to secure commissions from prominent individuals. He ventured beyond the established artistic centers of New York and Philadelphia, seeking opportunities in Baltimore, Charleston, and even New Orleans. It was during these journeys that he painted some of his most celebrated portraits, including those of General Andrew Jackson – capturing the future president at a pivotal moment in his career. His ability to capture not just physical likeness but also a sense of character and social standing proved crucial to his success. Among his other notable works are striking portrayals of Samuel Chase, John Jacob Astor, John Armstrong, and John Randolph, each offering a glimpse into the lives of influential figures during the War of 1812 era and beyond. He didn’t work in isolation; Jarvis employed assistants such as Thomas Sully and Henry Inman, contributing to the broader artistic landscape and fostering the development of future generations of American painters. The portrait of Mrs. William Thomas, along with his self-portrait and that of Mrs. Robert Dickey (Anne Brown), further demonstrate his range and technical skill.
Despite achieving considerable success, Jarvis’s personal life was marked by hardship. The early death of his wife, Betsy Burtis, left him with two young children to raise, and later years brought legal battles – a lawsuit from former apprentice John Quidor and the painful loss of custody of his children in a contentious court case. A debilitating stroke suffered while in New Orleans in 1834 proved particularly devastating, significantly impacting his health and artistic abilities. He spent his final years in New York City, reliant on the care of his sister, and died in poverty in 1839. Yet, despite these difficulties, Jarvis left behind a substantial body of work that provides invaluable insight into the social and cultural fabric of early 19th-century America. His portraits are now held in esteemed collections such as the New York Historical Society and the Metropolitan Museum of Art, ensuring his place within the canon of American art history. He remains a compelling figure – a talented artist whose life was as colorful and complex as the portraits he so skillfully created. He wasn’t merely a recorder of appearances; he was an interpreter of character, a chronicler of a nation finding its identity, and a testament to the enduring power of portraiture. His legacy extends beyond his artistic skill, encompassing a spirit of independence and a willingness to embrace individuality that continues to resonate today.
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Look closely
Commodore Oliver Hazard Perry — John Wesley Jarvis
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The Similars page of "Commodore Oliver Hazard Perry" by John Wesley Jarvis presents related artworks.
"Commodore Oliver Hazard Perry" by John Wesley Jarvis uses an earthy color palette. The palette summarizes the work's overall color character.
The Stats page of "Commodore Oliver Hazard Perry" by John Wesley Jarvis presents public visit statistics: monthly visits of this artwork, a comparison with the artist's most viewed works, and where its visitors come from.
The Preview page of "Commodore Oliver Hazard Perry" lets you preview the artwork before ordering.
"Commodore Oliver Hazard Perry" is available as a fine art print on cotton canvas or archival canvas paper. Orders are placed on this page, in the size of your choice.
"Commodore Oliver Hazard Perry" by John Wesley Jarvis has a dark luminance. Luminance describes how much light the colors appear to reflect.
"Commodore Oliver Hazard Perry" is available as a hand-painted oil reproduction on linen canvas. The order can be placed on this page, with a choice of sizes.
"Commodore Oliver Hazard Perry" was created by John Wesley Jarvis. The information on this page describes John Wesley Jarvis's original work.