=Questions to arouse interest.= What is represented in this picture?
What have these men been doing? What makes you think so? Why have they
stopped? What can you see in the distance? Do you think the soldier
running toward the group in the foreground is the bearer of good or bad
news? What makes you think so? How many of you can tell what battle has
just been fought, or something about General Wolfe?
=Original Picture=: Grosvenor House, London, England.
=Artist=: Benjamin West.
=Birthplace=: Springfield, Pennsylvania.
=Dates=: Born, 1738; died, 1820
=The story of the picture.= It is little wonder that the artist,
Benjamin West, who overcame so many obstacles to follow his chosen
calling, should admire a man like General Wolfe, who also had a great
many difficulties to overcome. Each was born with an overwhelming
desire,—the one to be a great artist; the other to be a great soldier.
Both achieved their desire through their own earnest and praiseworthy
effort. Perhaps the greatest difficulty James Wolfe had to contend with
was his poor constitution and constant ill health. He could scarcely
endure the long marches by land or voyages by sea—yet he would shirk
neither. Duty to his country was always first.
He was only sixteen years old when he took part in his first campaign.
Abbé H. R. Casgrain tells us: “He was then a tall but thin young man,
apparently weak for the trials of war. Moreover, he was decidedly ugly,
with red hair and a receding forehead and chin, which made his profile
seem to be an obtuse angle, with the point at the end of his nose. His
pale, transparent skin was easily flushed, and became fiery red when he
was engaged in conversation or in action. Nothing about him bespoke the
soldier save a firm-set mouth and eyes of azure blue, which flashed and
gleamed. With it all, though, he had about his person and his manner a
sympathetic quality which attracted people to him.” Although a severe
illness compelled him to give up this first campaign and return home,
Wolfe was by no means discouraged, and he later on managed to
distinguish himself for his courage and military skill.
It was not long after this that the great William Pitt decided that
Wolfe was a man to be trusted with great things. He appointed him
commander of the English troops to be sent against Quebec.
American history had just reached the period when all the English
colonies had been founded except Georgia, and the long struggle had come
between France and England for the possession of Canada.
There were many older generals who thought they ought to have been
appointed to the important command in place of Wolfe, and when the
elated Wolfe made some wild boasts in their presence, they were quick to
carry them to the king and to declare that James Wolfe was a mad fool,
and not fit to command. But King George III liked Wolfe none the less
for his enthusiasm, and declared that if “General Wolfe be mad, he hoped
he would bite some of his generals.”
But even Wolfe’s enthusiasm could not break down the strong
fortification at Quebec. The city was located on a high, rocky cliff in
itself almost inaccessible, and the natural strength of the position was
increased by the strong defense maintained by the French soldiers and
the Indians. Wolfe spent the entire summer trying to find a way to take
Quebec, and probably would not have succeeded but for a combination of
circumstances which left one part of the cliff unprotected.
With the aid of a telescope, General Wolfe had discovered a hidden
pathway up the side of the cliff behind the city at a point which was
lightly guarded. Then came a deserter from the French army who informed
him that the French were expecting some provision boats that night.
Without hesitation, General Wolfe ordered thirty-six hundred of his
soldiers to prepare for the assault. Under cover of night, flying a
French flag and with the aid of those of his generals who spoke French,
Wolfe and his soldiers managed to sail past the sentry and enter the
harbor in the guise of the French provision boats. In absolute silence
they sailed up the river and landed at a spot since called “Wolfe’s
Cove.” The ascent up the steep hill side was difficult but soon
accomplished, and the few guards killed or taken prisoners. All the
British soldiers successfully gained the heights and the next morning
General Wolfe lined them up for battle on a field called the “Field of
Abraham” after the name of its owner.
The French commander, Montcalm, surprised at the presence of the enemy
on his own shore, went to meet them hurriedly and without proper
support. A fierce battle ensued in which the English were victorious,
and the French fled. General Wolfe was wounded three times in this
battle, the last time fatally. Even then he called out to those nearest
him, “Support me; let not my brave fellows see me fall. The day is ours;
keep it.”
In our picture we see General Wolfe half supported on the ground, with
his friends about him. At the left is the messenger who, history tells
us, bore the news, “They run; see how they run!” The dying general heard
the words and asked, “Who run?” Upon hearing the answer, “The enemy,” he
exclaimed, “Now God be praised. I will die in peace.”
This victory not only gave Canada to England, but established the
permanent supremacy of the English-speaking race in North America. Is it
any wonder, then, that Benjamin West, a good American colonist, should
be interested in this battle and wish to paint a picture of it?
He started it with great enthusiasm, and soon had the figures sketched
in, ready to paint. West was then living in London, and Archbishop
Drummond, happening in his studio at this time, was greatly shocked
because West had dressed his men in costumes such as they actually wore.
Strange as it seems to us now, it was the custom then to use classic
models for everything, and to represent all figures as wearing Greek
costumes, no matter in what period they lived. If we remember Benjamin
West for no other reason, we shall remember him because he was the first
in England and America to change this custom. He believed we should
paint people just as they are. The archbishop tried to dissuade him from
this, and failing, he asked Sir Joshua Reynolds to talk to West.
Finally King George III heard of the artist’s intention and sent for
him. West listened to the king with great respect, and then replied:
“May it please your Majesty, the subject I have to represent is a great
battle fought and won, and the same truth which gives law to the
historian should rule the painter. If instead of the facts of action I
introduce fictions, how shall I be understood by posterity? The classic
dress is certainly picturesque, but by using it I shall lose in
sentiment what I gain in external grace. I want to mark the time, the
place, and the people; to do this I must abide by the truth.”
The king could not fail to be convinced by so sensible an answer, yet he
would not buy the picture. When Sir Joshua Reynolds came to look at the
finished picture he praised it unreservedly, and not only told the
artist it would be popular but predicted that it would lead to a
revolution in art. His prediction was soon fulfilled.
King George III also greatly admired the painting, and said, “There! I
am cheated out of a fine canvas by listening to other people. But you
shall make a copy of it for me.”
And yet the critics tell us that West, with all his love for truth in
dress, took even a greater artist’s license when he painted this
picture. He represented men as standing near Wolfe (the two generals,
Monckton and Barré) who were not there at all. These two men were
fatally wounded in the same battle, but in another part of the field.
Surgeon Adair, too, who is bending over the dying hero, was in another
part of the country at the time. The Indian warrior, who intently
watches the dying general to see if he is equal to the Indian in
fortitude and bravery, was, it is claimed, an imaginary person.
But a far greater number of critics uphold West and consider his
painting the more valuable because he has brought into prominence a
number of the important men of that time, and linked their names in
memory with that of General Wolfe and with the cause they represented.
It is interesting to note the manner in which the artist has grouped his
figures in the foreground. We can separate them into at least three
distinct groups, each complete in itself, yet held together by the
direction of their gaze and the position of their bodies. For a moment
these brave men have forgotten, in grief at the loss of a beloved
companion and hero, even the joy of victory for a great cause.
The interest is centered about the dying general in many different
ways—the light, the position of other figures, the direction of their
gaze, and his position in the picture. Our attention and interest might
remain with the group in the foreground of the picture but that it is
drawn, for a moment, to the figure in the middle distance running toward
us and from that figure to the mass in the background which, though
vaguely outlined, is still distinct enough to give us the impression of
troops in action.
=Questions to help the pupil understand the picture.= Why did the life
of General Wolfe appeal so strongly to the artist Benjamin West? What
great obstacles did General Wolfe have to overcome? Tell about his first
campaign. Describe his personal appearance. Why did William Pitt choose
Wolfe for an important office? What feeling did this cause among the
other generals? What did George III say about General Wolfe? Explain the
difficulties to be overcome in capturing Quebec. How did the English
effect a landing? Where was the battle fought? Which army was
victorious? What events aided the English in gaining this victory? What
new idea did West introduce in this picture? Who opposed him at first?
To what did this change lead? What can you say of the composition of
this picture? What is its value as history?
=The story of the artist.= “What is thee doing, Benjamin?” A small boy,
hearing this question, suddenly becomes quite confused and embarrassed
as he tries to cover up a sheet of paper he has in his hand. His mother
and sister, dressed in the severely plain clothing of the Quakers, are
standing behind him, waiting for an answer. The boy looks up timidly,
his face turning red as he answers hesitatingly, “N-nothing.”
Of course this does not satisfy his mother, and she speaks more sharply
as she asks him again what he is doing and what he has in his hand. The
boy, a little fellow of six, hands her a sheet of paper and nervously
rocks the cradle in which his baby sister is sleeping. He expects to be
punished, for he has done something that must be wrong, for he never
heard of any one else doing it.
The mother and sister study the paper carefully, and find only a drawing
done in red and black ink. They recognize it at once as a picture of the
baby sister Sally, sound asleep, and they are pleased in spite of
themselves. The mother asks him many questions, and he tells her that as
he was taking care of his baby sister he had suddenly felt a great
desire to copy the sleeping child’s face. He had found an old quill pen
and some ink, and they could see what he had been doing. The mother
looks pleased, but says, “I do not know what the Friends would say to
such like.” However, Benjamin feels encouraged, and determines to try
again soon.
This story is often told in giving the history of American art, because
this same Benjamin West was our first native American artist. Other
American men had copied European paintings, but his was the first
original work in America.
Benjamin’s grandfather came to America with William Penn, the two being
intimate friends. Later the West family moved to the small town of
Springfield, Pennsylvania, where, in 1738, the grandson Benjamin was
born, growing up under the stern observances of an early Quaker home.
His father kept a small store, but the family was a large one and many
hardships had to be endured in those early days.
At the age of seven Benjamin began to attend the village school. You
will remember that the Indians remained very friendly after their treaty
with William Penn, and that in those days they often came to visit and
trade with the settlers. The boys in this little school always looked
forward to these visits, as they liked to talk with the Indians in sign
language and to trade with them for bows and arrows and other curious
things the Indians made.
They came one day when Benjamin had been drawing some birds and flowers
on his slate. When shown the sketches they grunted their approval and
the next time they came the big chief brought Benjamin some red and
yellow paint, the kind they used to decorate their bodies.
How delighted Benjamin was as he ran home with his colors; but what
could he do without blue? Then his mother remembered the bluing she used
for her clothes, and gave him a piece of indigo. Now he must have a
brush. You have probably heard of how he cut the fur from the tip of the
cat’s tail, and so made a very good brush, although it did not last
long. This made it necessary for him to cut so much fur that the cat
became a sorry sight indeed. Benjamin’s father thought it must have some
disease and was about to chloroform it, when his son told him the true
state of affairs.
Not long afterwards an uncle who was a merchant in Philadelphia sent
Benjamin a complete painter’s outfit,—paints, brushes, canvas, and all.
It is said that the day these came Benjamin suddenly disappeared from
sight and could not be found either at school, where he should have
been, or in any of his favorite haunts.
At last his mother thought of the attic, and there she found him so
busily absorbed in painting his picture that at first he did not hear
her. She had intended to punish him, but, seeing his pictures, she
forgot all else as she said, “Oh, thou wonderful child!”
When the uncle came to visit them he was so delighted he took Benjamin
back with him to Philadelphia, where he could have good instruction in
drawing. At eighteen he began to paint portraits. Then, after living in
New York several years, he traveled extensively in Europe, finally
settling in London, where he remained the rest of his life.
He became court painter for King George III, and succeeded Sir Joshua
Reynolds as president of the Royal Academy, holding this position until
his death.
Benjamin West caused one complete change in the art of England. Until
his time all art had followed the Greek ideas, the artists using the
Greek costumes for figures of men of all periods. West believed we
should paint people just as they are, so he dressed his people in the
costumes of the day. At first, of course, he was criticized severely,
but soon all the artists were following his example. Benjamin West
became the founder of a school of his own, to which young artists from
both America and England went for help and encouragement. Although he
spent the last years of his life in England, Benjamin West always
remained a patriotic American.
The first few painters of note who followed Benjamin West were greatly
influenced by him. The list of prominent American artists is constantly
increasing. J. Walker McSpadden, in his book called _Famous Painters of
America_, has classified a few of the most prominent in a way that may
help us remember them:
Benjamin West, the painter of destiny.
John Singleton Copley, the painter of early gentility.
Gilbert Stuart, the painter of presidents.
George Inness, the painter of nature’s moods.
Elihu Vedder, the painter of the mystic.
Winslow Homer, the painter of seclusion.
John La Farge, the painter of experiment.
James McNeill Whistler, the painter of protest.
John Singer Sargent, the painter of portraits.
Edwin Austin Abbey, the painter of the past.
William M. Chase, the painter of precept.
=Questions about the artist.= Who was the first American artist of note?
Where was he born? Of what faith were his parents? Relate the
circumstances which led to Benjamin West’s first drawing, and the
result. How old was he at that time? How did he secure his first paints?
his brushes? What gift did his uncle send him? What became of Benjamin
the day this gift was received? What did his mother say? Where did he go
to study art? In what way did he change art in England? What school did
he establish? Name five other American artists, and tell why they are
famous.
=To the Teacher=: Several pupils may prepare the subject-matter as
suggested here, then tell it to the class. Later, topics may be written
upon the blackboard and used as suggestive subjects for short
compositions in English.
1. Relate an incident in the life of Benjamin West that persuaded his
parents he would be an artist.
2. Explain some of the difficulties he had to overcome in order to
paint.