Mary Elizabeth Martin1771
44 3/4 in. x 39 in. (113.67 cm x 99.06 cm)
Addison Gallery of American Art: 65 Years - Catalogue Entry
By the late 1760s, John Singleton Copley's reputation as a portrait painter of extraordinary ability had spread beyond his native New England. Myles Cooper, president of King's College (now
Columbia University), who had traveled to Boston to sit for Copley, urged him to come to New York: "I should be very glad if You could persuade yourself to exercise your Art for a few Months in this place: I am satisfied you would find an unparalleled Degree of encouragement."1 Copley eventually agreed, and in June 1771 he traveled to New York, where he stayed for seven months and produced at least thirty-seven portraits. Of these, the overwhelming majority were of adults: the landowners and merchants who dominated New York's social circles. But Copley did paint at least two children: Daniel Verplanck, the scion of the powerful Verplanck family,2 and Mary Elizabeth Martin, the nine-year-old daughter of Josiah Martin, governor of North Carolina, and his wife, Elizabeth Martin. The Martins were then residing at the home of Elizabeth's father, Rock Hall, in Lawrence, Long Island, where this picture is believed to have been painted.
Mary Elizabeth was the oldest of eight children, and "the Darling of her maternal Grandfather and Grandmother, with whom she has housed from her birth.”3 The special affection with which she was regarded by her grandparents gives credence to the family legend that Mary Elizabeth's portrait was designed to hang on the central panel above the mantel in one of Rock Hall's parlors. That fact, in turn, has been used to explain the unusual dimensions of the portrait, which at 44 3/4 by 39 inches is squarer than Copley's customary 50-by-40-inch canvases. However, several of Copley's other portraits of children deviate slightly from his standard size, and it may be that the composition, more animated than Copley's usual dignified portraits, also demanded a proportionately broader format.
Mary Elizabeth Martin is a reprise of an earlier portrait, Young Lady with a Bird and Dog (Toledo Museum of Art, Ohio), which also shows a young girl in a somewhat awkward kneeling position, attended by a spaniel. In 1767 Copley sent that picture to London for display in the annual exhibition of the Society of Artists. It was not a success: it was faulted for its overbrilliant color and for its excessive attention to peripheral details at the expense of the face and hands of the sitter. Copley attempted to correct these difficulties in Mary Elizabeth Martin, bathing the figure in light so that she stands out from her darkened surroundings and, more important, reducing the wealth of accessories in the earlier picture—dog, chair, bird, cushion, turkey carpet, column, swag of drapery, and distant landscape—to achieve a clearer focus on the subject. The little girl romping with her dog unquestionably dominates the composition: there is only the suggestion of a columned portico and the glimpse of a landscape beyond. The "Darling" of her grandparents is portrayed as a child of privilege: her salmon-pink gown with layers of ruffles at the sleeve and lacy figured apron are made of expensive imported fabrics, and her dog, a King Charles spaniel, was the pet of the aristocracy.4
Copley did not, however, resolve all the difficulties of the earlier portrait. Mary Elizabeth's stolid facial expression reveals little of her personality, and her odd kneeling posture distorts her lower body. On the other hand, her interaction with the dog makes the portrait unusually lively. Compared with Copley's earlier representations of children (for example, The Gore Children; c. 1755, Winterthur Museum and Gardens, Delaware) in which the sitters are dressed and comport themselves like miniature adults, Mary Elizabeth is refreshingly childlike. Her elegant gown, with its Watteau pleat of pink silk falling from the shoulder, gives her a floating, pyramidlike shape that suggests motion. Her dog bounds up, its head twisted back to look adoringly at her while she attempts to capture it in a swag of white linen—a playful interchange full of youthful energy and movement. Here, even more than in the portrait of Daniel Verplanck where the young sitter is accompanied by his pet squirrel, the addition of a beloved animal enlivens the composition and deflects some of its formality.
This new, more naturalistic approach to child portraiture had been gaining popularity in England since midcentury in the work of Sir Joshua Reynolds and others; Copley, ever the harbinger of new fashions, was among the first in the colonies to adopt the innovation. This development was not just a change in artistic taste, however, but also a reflection of the more relaxed attitudes to child rearing that had begun to take hold in England and America in the mid-eighteenth century.5 Thus Mary Elizabeth Martin, if not entirely successful as a portrait, is nonetheless something of a stylistic landmark and a barometer of social change.
Carol Troyen, Addison Gallery of American Art: 65 Years, A Selective Catalogue (Andover, Massachusetts: Addison Gallery of American Art, 1996), pp. 344-45
1. Myles Cooper to John Singleton Copley, 21 August 1769, in Letters and Papers of John Singleton Copley and Henry Pelham, 1739-1776, ed. Guernsey Jones (Boston: Massachusetts Historical Society, 1914), pp. 75-76.
2. Copley's portraits of Crommelin Verplanck, Daniel, the boy's father, Samuel, and his uncle Gulian are in The Metropolitan Museum of Art, New York.
3. Josiah Martin to Samuel Martin, Jr., Martin Papers, British Museum, London, Add MSS. 41361, 156-57, quoted in Shirley Hibbard et al., Historic Structure Report: Rock Hall (Lawrence, Long Island: Town of Hempstead Museum, 1992), appendix F., p. 3, quoted in Alison A. MacGinnitie, "Mary Elizabeth Martin: A New York Portrait by John Singleton Copley," paper, Addison Gallery Archives, p. 1. The Martins, who were Loyalists, were separated during the Revolutionary War. About 1781, some of the family emigrated to
England, though nineteen-year-old Mary Elizabeth elected to remain on Long Island. She never married, and stayed at Rock Hall through the 1790s; she may then have resettled in England, where two of her sisters were living. She died in London in 1820, at the age of fifty-seven.
4. For a discussion of these dogs as emblems of privilege, see Paul Staiti, "Character and Class," in Carrie Rebora et al., John Singleton Copley in America (New York: The Metropolitan Museum of Art, 1995), pp. 63-64.
5. For a summary of the philosophical changes in the approach to raising children in this period, see Margaretta M. Lovell, "Reading Eighteenth-Century American Family Portraits," Winterthur Portfolio 22 (Winter 1987), pp. 254-55; and Karen Calvert, "Children in American Family Portraiture, 1670-1819," William and Mary Quarterly, 3rd ser., 39 (January 1982), pp. 87-113.
John Singleton Copley (1738–1815) was the preeminent portraitist of the American colonial period, and later rose to prominence as a portraitist and history painter during his subsequent career in England. When he was ten, Copley was introduced to Boston's artistic circles by his stepfather, the painter engraver Peter Pelham. He studied prints of British paintings and the works of older artists, and by 1753 was active as a professional artist. By 1760, Copley hadbecome the leading portraitist in Boston.
In 1771, Copley traveled to New York at the invitation of Captain Stephen Kemble, who had arranged a number of commissions for him. This portrait depicts Mary Elizabeth Martin (1762–1820), the eldest of eight children of Josiah Martin, the last Colonial Governor of North Carolina, and his wife Elizabeth Martin, first cousins who married in 1761. The Martins were staying at Rock Hall at Lawrence, Long Island, the home of Mrs. Martin's father. In a letter of 14July 1771, Copley tells his half-brother Henry Pelham," . . . we have been to Long Island." In that same letter he writes, "I saw a miniature the other Day of Governor Martin by Miers which cost 30 Guineas and I think it worth the Money." It was during his visit to Long Island that Copley painted this portrait.
Mary Elizabeth led a privileged life, residing primarily at her grandparents's home on Long Island, travelling occasionally to her family's properties in Antigua, and to the Governor's residence in North Carolina. While her young life was characterized by affluence, it was also a time marked by great turmoil in the American colonies. Governor Martin fled from North Carolina back to Long Island at the outbreak of the Revolutionary War, and most of the family returned to England following the War. Mary Elizabeth remained at Rock Hall with her grandmother.
The portrait measures 45 x 40, a size unique in Copley's oeuvre, and family history holds that the portrait was painted to fit a specific overmantel at Rock Hall. This might explain the unusual size; however there is no precedent for this practice, and thus it seems unlikely that the portrait was painted to fit the mantel. It is possible that the canvas was originally 50 x 40, a standard size for Copley, and was cut down at some later date, perhaps to fit the later woodwork. H the upper portion of the painting had not been cut, the girl's head would have been
at almost the center of the canvas. This lower placement was typical of Copley's New York portraits.
This object was included in the following exhibitions:
- Animals on Parade [The Addison Zoo] Addison Gallery of American Art , 00/00/00 - 00/00/00
- Early American Portraits William Macbeth Gallery (William Macbeth, Inc.) , 1/19/1937 - 2/1/1937
- The Child Through Four Centuries Wildenstein and Co., Inc. , 2/28/1945 - 3/28/1945
- Likeness of America, 1680–1820 Colorado Springs Fine Arts Center , 7/5/1949 - 9/4/1949
- Loan to Stevens Memorial Library Stevens Memorial Library , 5/18/1951 - 9/24/1951
- Artistic Highlights of American History Addison Gallery of American Art , 1/10/1958 - 3/23/1958
- Four Boston Masters [4 Boston Masters: Copley, Allston, Prendergast, Bloom] Jewett Arts Center/Wellesley College Museum , 4/9/1959 - 6/15/1959
- Living with Design Addison Gallery of American Art , 10/22/1959 - 10/23/1959
- Significant Forms: The Changing Character of Western Art Addison Gallery of American Art , 7/8/1961 - 10/1/1961
- Carolina Charter Tercentenary Exhibition North Carolina Museum of Art , 3/23/1963 - 4/28/1963
- Founders Day Exhibition: The American Portrait The Westmoreland County Museum of Art , 9/21/1965 - 10/31/1965
- Winterfest '66 [version of Roots and Promise of American Art] Winterfest , 2/18/1966 - 2/27/1966
- Roots and Promise of American Art Addison Gallery of American Art , 1/10/1967 - 3/13/1967
- Paintings from the Addison Gallery Collection Showcase Cinema , 3/28/1967 - 4/25/1967
- New England Art from New England Museums Brockton Art Museum, Fuller Memorial , 1/15/1969 - 3/2/1969
- The Works Addison Gallery of American Art , 11/7/1969 - 2/22/1970
- Andover Garden Club Exhibition Addison Gallery of American Art , 4/10/1980 - 4/13/1980
- Breaking Away: Paintings and Drawings of the Colonial and Federal Periods Addison Gallery of American Art , 10/3/1980 - 11/2/1980
- Masterworks from the Collection: 50th Anniversary Exhibition Addison Gallery of American Art , 5/9/1981 - 6/14/1981
- Masterworks of American Art from the Addison Gallery Collection Hirschl and Adler Galleries, Inc. , 10/6/1981 - 10/31/1981
- Boys and Girls, Men and Women Addison Gallery of American Art , 4/12/1990 - 6/10/1990
- American Masterworks Addison Gallery of American Art , 10/5/1990 - 12/16/1990
- Faces of the Addison: Portraits from the Collection Addison Gallery of American Art , 4/23/1994 - 7/31/1994
- The Dog Show: Canines from the Collection Addison Gallery of American Art , 9/1/1994 - 12/9/1994
- Presence of the Past: Decorative Arts at Phillips Academy Addison Gallery of American Art , 1/21/1995 - 3/19/1995
- Masterworks from the Permanent Collection Addison Gallery of American Art , 9/5/1995 - 12/17/1995
- Addison Gallery of American Art: 65 Years Addison Gallery of American Art , 4/13/1996 - 7/31/1996
- Framework: American Pictures and Frames Addison Gallery of American Art , 1/16/1999 - 4/4/1999
- Masterworks from the Permanent Collection Addison Gallery of American Art , 2/22/2000 - 3/26/2000
- Identity and Intention: Two Centuries of American Portraiture Addison Gallery of American Art , 9/4/2001 - 12/30/2001
- Conversations: A Collection in Dialogue Addison Gallery of American Art , 1/7/2003 - 7/31/2003
- Eye on the Collection: Copley to Hopper Addison Gallery of American Art , 12/21/2004 - 6/12/2005
- Innocence New Britain Museum of American Art , 6/25/2005 - 9/18/2005
- Child's Play: Children from the Addison Collection Addison Gallery of American Art , 10/29/2005 - 12/31/2005
- Mix and Match: A Conversation between Paintings and Works on Paper Addison Gallery of American Art , 1/23/2007 - 4/8/2007
- The Discerning Eye: Five Perspectives on the Addison Collection Addison Gallery of American Art , 9/4/2007 - 12/30/2007
- Eye on the Collection: Views and Viewpoints Addison Gallery of American Art , 1/19/2008 - 3/23/2008
- Then and Now Addison Gallery of American Art , 5/10/2008 - 7/13/2008
- Inside, Outside, Upstairs, Downstairs: The Addison Anew Addison Gallery of American Art , 9/7/2010 - 3/27/2011
- Eye on the Collection Addison Gallery of American Art , 1/19/2013 - 3/10/2013
- Natural Selections Addison Gallery of American Art , 9/14/2013 - 3/16/2014
- [Permanent Collection 201-5] Addison Gallery of American Art , 4/12/2014 - 7/31/2014
- Eye on the Collection Addison Gallery of American Art , 4/1/2017 - 7/30/2017
- Eye on the Collection Addison Gallery of American Art , 9/1/2017 - 7/31/2018
- The Art of Ambition in the Colonial Northeast Addison Gallery of American Art , 9/1/2019 - 12/15/2019
This object has the following bibliographic references:
- Susan Faxon. Coming of Age: American Art, 1850s to 1950s . American Federation of Arts. 2006
This object is a member of the following portfolios:
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