Early Life, Family and Training

Robert Matthew Sully was born on 17 July 1803 in Petersburg, Virginia. He grew up in a household of six children, the son of Matthew Sully and Elizabeth, who hailed from Scotland. His early years were shaped by the social circles of Virginia, particularly during his school days in Richmond. It was there that he formed a lifelong friendship with Edgar Allan Poe, a connection that would follow him through his adult life.

By the time he reached eighteen, Robert Matthew Sully had made a firm decision to pursue a life as a painter. Seeking guidance for his future, he traveled to Philadelphia to consult with his uncle, Thomas Sully. The advice he received was significant, suggesting that his path to mastery lay in studying at the Royal Academy in London. This direction set the stage for his development as a portraitist, moving him toward the professional ambitions that would define his career.

Life and Activity in Virginia

After his time studying abroad, Sully returned to the United States and made Richmond his home in 1828. This city became the primary setting for his life and his work as a portrait painter. It was here that he established his professional presence, focusing much of his creative energy on the people and subjects found within the state. His presence in the local community was deeply felt, as he navigated the social and artistic circles of the region for many years.

His personal life in Virginia was marked by both stability and quiet complexity. In 1832, he married Isabella Thompson, who came from Culpeper. Together, they raised a family that included one son and two daughters. While the marriage eventually faced difficulties, leading the couple to live apart by the mid-1840s, his roots in the Virginia landscape remained firm throughout his career.

The social connections he formed in Richmond were significant. He maintained a lifelong friendship with Edgar Allan Poe, a bond that was reflected in his art. Sully painted two portraits of his friend, though these specific works have since vanished and their current locations remain unknown. His life in Virginia was defined by these intimate connections to the people around him and the steady pursuit of his craft.

Patrons, Commissions and Key Works

Sully found his most meaningful work in the faces of Native Americans. This interest defined much of his career, as he sought to capture the likenesses of people from the American landscape. In the early 1850s, his reputation led to a significant commission from Lyman C. Draper. This project involved painting a series of portraits for the State Historical Society of Wisconsin, a task that would eventually lead him toward the very society that would later grant him honorary membership.

One of his most personal subjects was Pocahontas. In about 1852, he painted her not as the polished, fashionable princess often seen in historical accounts, but as a "Forest Girl." He wanted to portray her in a way that felt more in accordance with her true character, moving away from the civilized image to something more natural. He admitted to a patron that the young woman had been the idol of his romantic dreams since his own boyhood. His vision for the portrait was to present her as a guardian figure, a beautiful presence within the woods.

Later Years and Death

By the mid-1850s, Sully’s focus had turned toward the portraits he was commissioned to paint for the State Historical Society of Wisconsin. His work during this period included several depictions of Native Americans, a project requested by Lyman C. Draper. The significance of his contribution to this collection was recognized in 1855, when he was elected an honorary member of the society. This recognition prompted a change in his life's direction; he decided to travel toward Wisconsin, perhaps with the intention of settling there permanently.

The trip proved to be his last. While en route to his destination, he died in Buffalo on 28 October 1855. His passing was sudden, and the circumstances surrounding it were marked by a sense of loss that extended beyond his physical person. At the time of his death, his baggage and most of his personal papers were lost. This loss of documentation and belongings left a gap in the record of his private life and professional history.