GENERAL DESCRIPTION
Samuel Adams appears at what he considered his greatest moment, his confrontation with royal governor Thomas Hutchinson of Massachusetts the day after the Boston Massacre of March 5, 1770. He holds a petition signed by his fellow citizens protesting the actions of British soldiers who had killed five colonists in a street incident. Adams points to the charter and seal granted to Massachusetts by the British crown which guaranteed protection for Boston's citizens. The classical columns in the background connect him with the rationality and republican virtues associated with ancient Greece and Rome. This painting is a direct copy of John Singleton Copley's portrait of Samuel Adams. Whoever commissioned this copy probably intended to hang it prominently as John Hancock did the original, using it for political inspiration. Adams's head is over-sized, and his torso appears small and ungainly. Copley, whom the artist copied faithfully, often painted male sitters with odd proportions, which, in this case, accentuate Adam's power and intensity.
Excerpt from
Gail Davitt, DMA exhibition label text, 1997
NOTES
n.d. changed to "After 1772"
John Singleton Copley's version was painted c. 1772. Savage's painting is a direct copy, so it must have been created after Copley's.
Object File Reviewed
Checked Piction
Savage knew the works of Copley - copied them and his originals show the influence of Copley.
This portrait is a direct copy of John Singleton Copley's portrait of Samuel Adams – no date.
Samuel Adams (1722-1803) was a revolutionary war leader and highly controversial figure - a Boston radical who gave voice to the colonial demand for independence through his speeches and writings.
Opposed the Sugar Act and the Stamp Act and organized the Sons of Liberty, a secret radical patriot organization formed before the American Revolution to oppose the Stamp Act.
One of the planners of the Boston Tea party, worked for the creation of the Continental Congress Signed the Declaration of Independence in 1776. Later succeeded John Hancock as governor of Massachusetts Adams is shown at what he considered his greatest moment - his confrontation with royal governor Thomas Hutchinson of Massachusetts, the day after the Boston massacre of March 5, 1770 - a street incident between an angry crowd and a group of British soldiers during which panicky solders shot point-blank into the crowd, killing 5 men. During the confrontation, Adams demanded the expulsion of British troops from the town.
In his right hand is the petition INSTRUCTIONS OF... TOWN BOSTON, prepared by his aggrieved fellow citizens.
Adams points to the charter and seal granted Massachusetts by King William and Queen Mary - his gesture was intended to connote power and authority.
Adams is presented as a man of reason and although his location is not specific, the background is without clutter or detraction from Adams himself. The classical columns in the background underscore an association with republican virtue and rationality.
Black object in front is the seal granted Massachusetts by King William and Queen Mary.
Excerpt from
Gail Davitt, "American Portraiture," DMA Research document, Education Files, n.d.
The following text was also found in Gail Davitt, "American Portraiture," DMA Research document, Education Files, n.d.
Exact work that is being described in the document is not clear, but based on the Copley/Hancock reference, I assume it might be about this painting.
John Hancock commissioned Copley's original painting of Sam Adams, which he hung in his home for political reasons - used it as an inspiration at political meetings in his home.
The image was widely copied, both in oil and is prints. Whoever commissioned this work probably intended to hang is in a prominent place since the image was an instrument of political propaganda.
Probably commissioned by someone - don't know who. - an instrument of propaganda, an implement of the Revolution - the image conveyed a potent political message of patriotism and independence - obviously in demand. Was common during the period for works to be copied.
Odd proportions - Copley was known for odd proportions of this male sitters. In this case Adam's head is over-sized and his torso appears small and ungainly; he is barrel chested and has sloping, shrunken shoulders. - There is an expressive effect - his head is all the more impressive and commanding, and his piercing stare is all the more intense.
Slightly off center, body shifted to the left, head turned back.
Crowds the table, pushing forward and threatening the viewer's space.
John Adams described his cousin as "a plain, simple, decent citizen, of middling stature, dress, and manners.
Simple suit of dark wool, with no ornamental braid or embroidery, and with a single ruffle of linen at the wrist - suggests his modest character.
Muted palette calls attention to Adams' head and hands - they seem spotlit, while his dull-reddish-brown suit emerges from the dark background.
Bunched lapels of waistcoat, sloppily folded over, and two buttons undone, suggest Adam's utter lack of vanity and concern for appearances.
Full citation from General Description:
Excerpt from
Gail Davitt, DMA Exhibition Label Copy (1993.75) for Faces of a New Nation: Colonial American Portraits (October 19, 1997- January 10, 1998), September 1997. [Fax to Eleanor Jones Harvey with these label drafts found in educaiton files, and as an undated "American Portraits" research document, Education files.]
Catalogue essays
Artist/designers
Savage, Edward (American, 1761-1817)
Cultures
Geography
Place of origin: Boston (Massachusetts/United States): TGN: 7013445
Process/materials
Historical periods
Individuals
Samuel Adams (American, 1722-1803)
Subject terms
RELATED OBJECTS
PROVENANCE
From 1960: Dallas Museum of Fine Arts, gift of Mr. and Mrs. A.M. Adler [1]
[1] The name of the Dallas Museum of Fine Arts, founded in 1933, was changed to the Dallas Museum of Art in 1983.
AUDIO ASSETS
VIDEO ASSETS
IMAGE ASSETS
Copley's version-- from wikipedia
WEB RESOURCES
- Edward Savage, Biography~Read a biography of Edward Savage from the National Gallery of Art, Washington, DC.
- Museum of Fine Arts Boston~View the painting by John Singleton Copley upon which the Dallas Museum of Art's version was based.
- History.com~Learn more about the link between Samuel Adams and beer in "The Sudsy History of Samuel Adams."
ARCHIVAL RESOURCES
FUN FACTS
- Edward Savage owned some of the earliest art galleries in Boston, New York, and Philadelphia.
TEACHING IDEAS
RULES
Apply to objects where number equals 1960.163
Category
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General Description
Samuel Adams appears at what he considered his greatest moment, his confrontation with royal governor Thomas Hutchinson of Massachusetts the day after the Boston Massacre of March 5, 1770. He holds a petition signed by his fellow citizens protesting the actions of British soldiers who had killed five colonists in a street incident. Adams points to the charter and seal granted to Massachusetts by the British crown which guaranteed protection for Boston's citizens. The classical columns in the background connect him with the rationality and republican virtues associated with ancient Greece and Rome. This painting is a direct copy of John Singleton Copley's portrait of Samuel Adams. Whoever commissioned this copy probably intended to hang it prominently as John Hancock did the original, using it for political inspiration. Adams's head is over-sized, and his torso appears small and ungainly. Copley, whom the artist copied faithfully, often painted male sitters with odd proportions, which, in this case, accentuate Adam's power and intensity.
Excerpt from
Gail Davitt, DMA exhibition label text, 1997
Fun Facts
- Edward Savage owned some of the earliest art galleries in Boston, New York, and Philadelphia.
Archival Resources
Web Resources
- Edward Savage, Biography~Read a biography of Edward Savage from the National Gallery of Art, Washington, DC.
- Museum of Fine Arts Boston~View the painting by John Singleton Copley upon which the Dallas Museum of Art's version was based.
- History.com~Learn more about the link between Samuel Adams and beer in "The Sudsy History of Samuel Adams."
Notes
n.d. changed to "After 1772"
John Singleton Copley's version was painted c. 1772. Savage's painting is a direct copy, so it must have been created after Copley's.
Object File Reviewed
Checked Piction
Savage knew the works of Copley - copied them and his originals show the influence of Copley.
This portrait is a direct copy of John Singleton Copley's portrait of Samuel Adams – no date.
Samuel Adams (1722-1803) was a revolutionary war leader and highly controversial figure - a Boston radical who gave voice to the colonial demand for independence through his speeches and writings.
Opposed the Sugar Act and the Stamp Act and organized the Sons of Liberty, a secret radical patriot organization formed before the American Revolution to oppose the Stamp Act.
One of the planners of the Boston Tea party, worked for the creation of the Continental Congress Signed the Declaration of Independence in 1776. Later succeeded John Hancock as governor of Massachusetts Adams is shown at what he considered his greatest moment - his confrontation with royal governor Thomas Hutchinson of Massachusetts, the day after the Boston massacre of March 5, 1770 - a street incident between an angry crowd and a group of British soldiers during which panicky solders shot point-blank into the crowd, killing 5 men. During the confrontation, Adams demanded the expulsion of British troops from the town.
In his right hand is the petition INSTRUCTIONS OF... TOWN BOSTON, prepared by his aggrieved fellow citizens.
Adams points to the charter and seal granted Massachusetts by King William and Queen Mary - his gesture was intended to connote power and authority.
Adams is presented as a man of reason and although his location is not specific, the background is without clutter or detraction from Adams himself. The classical columns in the background underscore an association with republican virtue and rationality.
Black object in front is the seal granted Massachusetts by King William and Queen Mary.
Excerpt from
Gail Davitt, "American Portraiture," DMA Research document, Education Files, n.d.
The following text was also found in Gail Davitt, "American Portraiture," DMA Research document, Education Files, n.d.
Exact work that is being described in the document is not clear, but based on the Copley/Hancock reference, I assume it might be about this painting.
John Hancock commissioned Copley's original painting of Sam Adams, which he hung in his home for political reasons - used it as an inspiration at political meetings in his home.
The image was widely copied, both in oil and is prints. Whoever commissioned this work probably intended to hang is in a prominent place since the image was an instrument of political propaganda.
Probably commissioned by someone - don't know who. - an instrument of propaganda, an implement of the Revolution - the image conveyed a potent political message of patriotism and independence - obviously in demand. Was common during the period for works to be copied.
Odd proportions - Copley was known for odd proportions of this male sitters. In this case Adam's head is over-sized and his torso appears small and ungainly; he is barrel chested and has sloping, shrunken shoulders. - There is an expressive effect - his head is all the more impressive and commanding, and his piercing stare is all the more intense.
Slightly off center, body shifted to the left, head turned back.
Crowds the table, pushing forward and threatening the viewer's space.
John Adams described his cousin as "a plain, simple, decent citizen, of middling stature, dress, and manners.
Simple suit of dark wool, with no ornamental braid or embroidery, and with a single ruffle of linen at the wrist - suggests his modest character.
Muted palette calls attention to Adams' head and hands - they seem spotlit, while his dull-reddish-brown suit emerges from the dark background.
Bunched lapels of waistcoat, sloppily folded over, and two buttons undone, suggest Adam's utter lack of vanity and concern for appearances.
Full citation from General Description:
Excerpt from
Gail Davitt, DMA Exhibition Label Copy (1993.75) for Faces of a New Nation: Colonial American Portraits (October 19, 1997- January 10, 1998), September 1997. [Fax to Eleanor Jones Harvey with these label drafts found in educaiton files, and as an undated "American Portraits" research document, Education files.]
Catalogue essays
Artist/designers
Savage, Edward (American, 1761-1817)
Cultures
Geography
Place of origin: Boston (Massachusetts/United States): TGN: 7013445
Process/materials
Historical periods
Individuals
Samuel Adams (American, 1722-1803)
Subject terms
RELATED OBJECTS
PROVENANCE
From 1960: Dallas Museum of Fine Arts, gift of Mr. and Mrs. A.M. Adler [1]
[1] The name of the Dallas Museum of Fine Arts, founded in 1933, was changed to the Dallas Museum of Art in 1983.
AUDIO ASSETS
VIDEO ASSETS
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1960.163
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