Gilbert Stuart, George Washington, begun 1795, oil on canvas, 76.8 x 64.1 cm (The Metropolitan Museum of Art)

The fame of Gilbert Stuart today rests on the dozens of portraits he painted of George Washington, the first president of the United States. Indeed, Stuart painted so many likenesses of the first president between arriving in Philadelphia in 1795 and his death more than thirty years later that he often joked that the act of painting Washington’s face was akin to painting a $100—his normal fee. Yet Stuart’s story begins long before Philadelphia and long before he met President Washington. 

Stuart’s story begins in the American colonies. He was born just outside Newport, Rhode Island in 1755. At a young age he demonstrated an artistic proficiency—a talent that was aided when Cosmo Alexander arrived in Newport. Alexander was a Scottish-born and Italian-trained itinerant artist who was then working his way northward along the eastern seaboard. He possessed knowledge of European art largely unmatched in the American colonies. Alexander was clearly enchanted by the fourteen-year-old and provided Stuart with painting and drawing lessons. Then, in 1771, offered to continue the youngster’s education in Scotland. Unfortunately for Stuart—and, for that matter, Alexander himself—the older artist died not long after the pair crossed the Atlantic. Although Stuart attempted to pursue a career as a portraitist in Scotland, he lacked the credentials, connections, skill, and training to make a successful go of it.

Thus, Stuart arrived in London with no friends or social connections, and he lacked a formal letter of introduction to the North American born Benjamin West—then the toast of the London art community. Instead, Stuart found employment at St. Catherine’s Church as on organist, receiving a modest salary of 150 pounds per year. About a year later—mid-December 1776—Stuart seemed to have hit rock bottom. He arrived at Benjamin West’s studio at 14 Newman Street with letter written to his countryman begging for assistance. Filled with Stuart’s creative grammar, punctuation, and spelling, it is worth quoting at length:

Not surprisingly, West took pity on Stuart. Shortly thereafter—January 1777 is likely—West hired Stuart as a resident assistant. West provided Stuart with room and board and paid him one-half guinea a week to paint draperies within his teacher’s portraits. West’s charity and recognition of Stuart’s talent and potential was a pivotal moment in the younger artist’s career.

Gilbert Stuart, The Skater (Portrait of William Grant), 1782, oil on canvas, 235.5 x 147.4 cm (National Gallery of Art)

No painting announces Gilbert Stuart’s coming of age as an portraitist quite like that of his likeness of William Grant, an image now affectionately called The Skater. Stuart displayed this painting at the 1782 exhibition of the Royal Academy of Art. During the 1780s, one might find hundreds of bust-length portraits on the walls of this annual show. However, Stuart’s portrait of Grant was what was then called an exhibition piece—an ambitiously sized full-length portrait that often explored not only what a sitter looked like, but also who a sitter was. Artists aspired for grand paintings such as The Skater to be hung “on the line,” a place reserved for large compositions that the artist intended to be seen from a certain distance. Measuring more than eight feet tall and almost five feet across, Stuart believed The Skater would advertise his artistic maturity and his transition from Benjamin West’s student to Benjamin West’s protégé. 

Rather than identify the sitter by name, the exhibition catalog listed the title only as Portrait of a gentleman skating. And, indeed, Stuart was deliberate in the ways in which he accentuated Grant’s social status through the use of attire. Grant wears white, grey, and black, then the preferred clothing for the social elite. His suit is made from fine black silk velvet, and his knee-length frock coat is accentuated with fashionable grey fur lapels. His black beaver hat—round and broad—was likewise of the most recent fashion. Grant’s winter-inspired florid cheeks represent the only dash of color in the painting’s foreground.

Grant’s skating pose may seem unusual to a twenty-first audience, but it was one instantly recognizable to the visitors to the 1782 Royal Academy exhibition. His weight-bearing left leg and slightly bent right leg is a near mirror image of the lower body of the *Apollo Belvedere, perhaps the most famous of classical Greek sculptures in the eighteenth century, and a cast of which stood in the corner of West’s studio. Grant’s upper body—his arms folded across his chest—was a pose typical to ice skaters of the eighteenth century, for its nonchalance accentuated the effortlessness of skater’s movement. In fact, the motion Stuart shows is one reason why The Skater was so novel. Full-length Grand Manner portraits of the eighteenth century generally showed the subject standing still.