Paper

Student Artwork Guide

Self portrait

Name Class Date

andrew geddes, Self portrait. Public domain.

The facts

Artist
andrew geddes artsdot.com/en/artists/andrew-geddes/
Artist’s dates
1783 – 1844
Movement
Baroque Dramatic, theatrical pictures using deep shadow and strong diagonals to pull you into the action.

In context

Self portrait — andrew geddes

When might this have been painted?

  1. 1780
  2. 1790
  3. 1800
  4. 1810
  5. 1820
  6. 1830
  7. 1840

Shaded: the lifetime of andrew geddes (1783–1844)

This record has no exact year on file — using the artist's lifetime and the work's style, what decade would you guess?

Compare with

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: artsdot.com/en/art/similar/andrew-geddes-self-portrait-9HTUDR-en/

Colours

Measured from the image

    Main colour

    Phthalo Green #251b0e

    Catalogued palette

    • #251B0E
    • #020201
    • #9F8858
    • #4F442C
    Palette
    Monochrome The dominant colour family in the image.
    Main colour name
    Phthalo Green
    Intensity
    Monochromatic How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Serene How much the colours differ in lightness and saturation across the picture.
    Harmony
    Strong Color Unity How well the colours work together, from clashing to fully unified.
    Brightness
    Deep_shadow How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Muted How pure and strong the colours are, from near-grey to fully vivid.

    Artist and museum

    Artist

    andrew geddes

    Born in Edinburgh, United Kingdom

    Thomas Sully: The American Lawrence

    Thomas Sully, born in Horncastle, Lincolnshire, England, on June 19, 1783, was a pivotal figure in the development of portraiture during America’s formative years. His life unfolded across continents and decades, ultimately establishing him as one of the most celebrated painters of his time – often dubbed the “American Lawrence” for his stylistic similarities to the esteemed British artist Thomas Lawrence. Sully's journey began within the theatrical world; his parents were actors, and he himself made his debut on stage at the tender age of eleven. This early exposure to performance instilled a keen understanding of character and presentation, qualities that would later translate into his captivating portraits. He initially pursued an insurance career but quickly recognized and nurtured his artistic talent, receiving informal instruction from Jean Belzons, a French miniaturist, before embarking on a formal apprenticeship. His relocation to Charleston, South Carolina, in 1792 marked the beginning of a new chapter, bringing him into contact with his uncle, Thomas Wade West, a prominent theater owner and operator. This period laid the groundwork for his future career, exposing him to the social dynamics and artistic circles of the burgeoning American colonies.

    Early Career and Artistic Influences

    Sully’s early training in England profoundly shaped his artistic style. He studied under Benjamin West, a renowned portraitist and influential figure in the British art scene. West's emphasis on naturalism, dramatic lighting, and capturing the subject’s personality undoubtedly influenced Sully’s approach to portraiture. However, Sully wasn’t merely a mimic; he skillfully adapted these influences to create a distinctly American style – one characterized by warmth, elegance, and an ability to convey both outward grandeur and inner character. His early works in Charleston showcased his burgeoning talent, establishing him as a sought-after painter among the wealthy elite of South Carolina. The move to Philadelphia in 1805 proved crucial, catapulting him into the heart of America’s artistic and social center. It was here that he truly cemented his reputation, becoming known for his ability to capture the essence of his subjects – from presidents and military heroes to prominent merchants and fashionable ladies.

    A Royal Commission and a Shift in Direction

    The most significant turning point in Sully’s career arrived unexpectedly in 1837 with a commission that dramatically altered the course of his life: a portrait of Queen Victoria. Receiving this extraordinary request, prompted by a philanthropic society of English emigrants in Philadelphia, Sully found himself embroiled in the intricate protocols and social expectations surrounding the British monarchy. He was compelled to travel to London, an undertaking that stretched far beyond his initial plans and profoundly impacted his artistic practice. This experience marked a shift from primarily painting for American patrons to engaging with European aristocracy, broadening his perspective and expanding his network of contacts. The portrait itself became a symbol of this transformation – a remarkably flattering depiction of the young Queen, capturing her youthful vitality and regal bearing. It was a testament to Sully’s skill and adaptability, demonstrating his ability to navigate unfamiliar social landscapes while maintaining his artistic integrity.

    Subject Matter and Artistic Techniques

    Sully's oeuvre encompassed a remarkably diverse range of subjects, reflecting the breadth of his clientele and his own artistic interests. He produced over 2,300 paintings throughout his long career, including portraits of prominent figures such as Thomas Jefferson, John Quincy Adams, Andrew Jackson, and the Marquis de Lafayette. Beyond these official portraits, he also painted historical scenes – notably The Passage of the Delaware, a dramatic depiction of George Washington’s crossing of the river – and landscapes that showcased his keen observational skills. Sully's technical mastery lay in his ability to create a sense of immediacy and engagement within his portraits. He employed loose brushwork, subtle gradations of tone, and carefully considered lighting to capture not only physical likeness but also the personality and mood of his subjects. His use of color was particularly noteworthy – he favored warm, rich hues that enhanced the overall effect of elegance and sophistication.

    Legacy and Historical Significance

    Thomas Sully’s impact on American art is undeniable. He played a crucial role in establishing portraiture as a respected and commercially viable profession in the United States. His paintings adorned the homes of America's elite, shaping perceptions of wealth, power, and social status. Furthermore, his work was adapted for use on United States coinage during the mid-19th century, ensuring that his images would continue to circulate throughout the nation. Sully’s legacy extends beyond his individual achievements; he helped to establish a tradition of portraiture in America that continues to influence artists today. He remains a significant figure in the history of American art, celebrated for his skill, versatility, and enduring appeal. His life and work offer a fascinating glimpse into the social and cultural dynamics of early 19th-century America and Europe.

    Where to read more

    Find this online

    QR code linking to the download page for Self portrait

    artsdot.com/en/art/download/andrew-geddes-self-portrait-9HTUDR-en/

    Cite this artwork

    MLA
    geddes, andrew. Self portrait. n.d., https://artsdot.com/en/art/andrew-geddes-self-portrait-9HTUDR-en/
    APA
    geddes, andrew (n.d.). Self portrait [Painting]. https://artsdot.com/en/art/andrew-geddes-self-portrait-9HTUDR-en/
    Chicago
    andrew geddes. Self portrait. n.d. https://artsdot.com/en/art/andrew-geddes-self-portrait-9HTUDR-en/
    Harvard
    geddes, andrew (n.d.) Self portrait. Available at: https://artsdot.com/en/art/andrew-geddes-self-portrait-9HTUDR-en/

    Look closely

    Self portrait — andrew geddes

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. How many faces can you find? ____ (our catalogue counts 1 — do you agree?)
    4. Our catalogue files this work under: portrait, self-portrait, baroque. Do you agree? What would you add, or take away?
    5. Look back at Jeremiah Greatorex, earlier in this guide. Name two things it shares with this work, and one that is different.

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.