Raphaelle Peale (sometimes spelled Raphael Peale) (February 17, 1774 – March 4, 1825) is considered the first professional American painter of still-life.
Raphaelle Peale (lower) and his brother Titian as painted by his father Charles Willson Peale in the "Staircase Group" (1795)
Peale was born in Annapolis, Maryland, the fifth child, though eldest surviving, of the painter Charles Willson Peale and his first wife Rachel Brewer. He grew up in Philadelphia, and spent his life there in a home at the corner of 3rd and Lombard. Like his siblings (almost all of whom were named after famous artists or scientists), Raphaelle was trained by his father as an artist. Early in his career, the pair collaborated on portraits. On some commissions, Raphaelle painted miniatures while his brother, Rembrandt, painted full-size portraits.
In 1793, he made a trip to South America in order to collect specimens for the Peale Museum founded by his father.[1] He exhibited five portraits and eight other paintings, probably still lifes, at the Columbianum, Philadelphia in 1794.[2] His first professional exhibition was in 1795 at the age of 21. In 1797, with his brother Rembrandt, he traveled to Charleston, South Carolina, where they attempted to establish another museum. The plan fell through, however, and Raphaelle returned to painting miniatures.
He married Martha (Patty) McGlathery at the age of twenty, and with her had eight children. For about two years beginning in 1803, Peale toured Virginia with the "physiognotrace", a profile making machine, with which he was briefly successful. By 1806 he had begun to suffer the symptoms of arsenic and mercury poisoning brought on by his work as a taxidermist in his father's museum.[1] In August 1809 he was hospitalized with delirium, and for the rest of his life he suffered debilitating attacks almost yearly—which his father ascribed to "gout of the stomach" caused by consumption of pickles and excessive drinking.[1] From 1810, Peale concentrated on still-life painting almost exclusively, becoming America's first professional still-life painter, and he exhibited frequently at the Pennsylvania Academy of the Fine Arts and elsewhere, especially from 1814 to 1818.[2] By 1813, he was unable to walk without crutches.[1] After the downturn in his health, in an era when most artists considered still life a subject worthy only of amateurs, he devoted himself almost exclusively to still life painting. It is for these works he is best known. His work was on frequent exhibit at the Pennsylvania Academy of the Fine Arts between 1814 and 1818. After reportedly indulging in a night of heavy drinking, his health destroyed, he died on March 4, 1825,[1] at age 51 at his home in Philadelphia.
Style
Alfred Frankenstein has called Raphaelle Peale "the first really distinguished still-life specialist to emerge in this country, and he is one of the four major still-life painters of the nineteenth century in the United States."[3] His style may have been influenced by Spanish still life paintings he saw on his trip to Mexico and by the two works by Juan Sanchez Cotan, exhibited at the Pennsylvania Academy in 1816.[1] Most of Peale's paintings are small in scale, and depict a few objects—usually foodstuffs—arranged on a tabletop before a darkened background.
A notable exception to this is his trompe-l'œil, Venus Rising from the Sea—A Deception (also entitled After the Bath, 1822, in the collection of the Nelson-Atkins Museum of Art).[4] This painting serves as a distinct thematic departure from his other work. While the dark backdrop is consistent with his still life works,[5] there were themes of this work that make it unique amongst Peale’s other works. Instead of featuring food, the subject is instead Venus, who is just barely visible from behind the napkin covering her. This theme of covering is consistent with a previous work of his, Peaches Covered by a Handkerchief. By covering the subject, Peale introduced a theme of mystery to his painting which has survived to this day. The act of covering a nude figure was not new to the world of art, however Peale took this choice literally when painting the cover into the painting itself.[6] The mystery of this work is compounded by the lack of clear date on the painting itself due to a smudged last digit.[5] There was also an element of humor within this particular work. According to family stories, Peale painted this work in part as a prank on his wife. Making it appear as if he was hiding a pornographic image under a napkin, he wanted to goad his wife into scratching at the canvas.[6] This sets this painting apart from the other Peale works, which tend to follow a more straightforward approach as previously mentioned.
It was his nephew George Escol Sellers's opinion that Raphaelle Peale was the most talented of Charles Wilson Peale's artist children and that "it was the Revolution that made him the wreck he was".[7]
^ abSmithsonian American Art Museum collection record, citing William Kloss, Treasures from the National Museum of American Art (Washington, D.C. and London: National Museum of American Art with the Smithsonian Institution Press, 1985)
^Conrads, Margaret C. (2007-01-01). American Paintings to 1945 : The Collections of The Nelson-Atkins Museum of Art. The Nelson-Atkins Museum of Art.
^ abWard, David C.; Hart, Sidney (1994). "Subversion and Illusion in the Life and Art of Raphaelle Peale". American Art. 8 (3/4): 97–121. doi:10.1086/424225. ISSN 1073-9300. JSTOR 3109174. S2CID 191551162.
^ abEvans, Dorinda (1982). "Raphaelle peale's Venus Rising from the Sea: Further Support for a Change in Interpretation". American Art Journal. 14 (3): 63–72. doi:10.2307/1594328. ISSN 0002-7359. JSTOR 1594328.
^Cikovsky, Nicolai, Jr.; Bantel, Linda; Wilmderding, John. Raphaelle Peale Still Lifes(PDF). New York: National Gallery of Art, Washington; Pennsylvania Academy of the Fine Arts, Philadelphia; Distributed by Harry N. Abrams, Inc. pp. 115–16. Retrieved March 26, 2017. ... . Uncle Raphael . . . was in reality the most talented of Grandpa's sons and it was the Revolution that made him the wreck he was.
References
Evans, Dorinda. “Raphaelle Peale’s Venus Rising from the Sea: Further Support for a Change in Interpretation.” American Art Journal, vol. 14, no. 3, Kennedy Galleries, Inc., 1982, pp. 63–72, https://doi.org/10.2307/1594328.
Frankenstein, Alfred, The Reality of Appearance, Greenwich: New York Graphic Society, 1970. ISBN0- 8212-0357-6
Lauren Lessing and Mary Schafer, “Unveiling Raphaelle Peale’s Venus Rising from the Sea – A Deception,” Winterthur Portfolio 43 (July/August 2009), 229–59. http://www.jstor.org/stable/10.1086/600814 32 pages
Phoebe Lloyd, "Philadelphia Story", Art in America, (November 1988), 154–171, 195–200.
Ward, David C., and Sidney Hart. “Subversion and Illusion in the Life and Art of Raphaelle Peale.” American Art, vol. 8, no. 3/4, [University of Chicago Press, Smithsonian American Art Museum], 1994, pp. 97–121, http://www.jstor.org/stable/3109174
External links
Wikimedia Commons has media related to Raphaelle Peale.
Raphaelle Peale at Artcyclopedia.com
"Raphaelle Peale (1774–1825) Artwork Images, Exhibitions, Reviews" (list of works), World Wide Arts Resources, 2007, webpage: .
"The Metropolitan Museum of Art – Works of Art: American Paintings" (history), Metropolitan Museum of Art, 2007, webpage: MMA-RPeale.
Raphaelle Peale from the Smithsonian American Art Museum.
January 31, 2023
raphaelle, peale, sometimes, spelled, raphael, peale, february, 1774, march, 1825, considered, first, professional, american, painter, still, life, lower, brother, titian, painted, father, charles, willson, peale, staircase, group, 1795, contents, biography, s. Raphaelle Peale sometimes spelled Raphael Peale February 17 1774 March 4 1825 is considered the first professional American painter of still life Raphaelle Peale lower and his brother Titian as painted by his father Charles Willson Peale in the Staircase Group 1795 Contents 1 Biography 2 Style 3 Notable works 4 Notes 5 References 6 External linksBiography EditPeale was born in Annapolis Maryland the fifth child though eldest surviving of the painter Charles Willson Peale and his first wife Rachel Brewer He grew up in Philadelphia and spent his life there in a home at the corner of 3rd and Lombard Like his siblings almost all of whom were named after famous artists or scientists Raphaelle was trained by his father as an artist Early in his career the pair collaborated on portraits On some commissions Raphaelle painted miniatures while his brother Rembrandt painted full size portraits In 1793 he made a trip to South America in order to collect specimens for the Peale Museum founded by his father 1 He exhibited five portraits and eight other paintings probably still lifes at the Columbianum Philadelphia in 1794 2 His first professional exhibition was in 1795 at the age of 21 In 1797 with his brother Rembrandt he traveled to Charleston South Carolina where they attempted to establish another museum The plan fell through however and Raphaelle returned to painting miniatures He married Martha Patty McGlathery at the age of twenty and with her had eight children For about two years beginning in 1803 Peale toured Virginia with the physiognotrace a profile making machine with which he was briefly successful By 1806 he had begun to suffer the symptoms of arsenic and mercury poisoning brought on by his work as a taxidermist in his father s museum 1 In August 1809 he was hospitalized with delirium and for the rest of his life he suffered debilitating attacks almost yearly which his father ascribed to gout of the stomach caused by consumption of pickles and excessive drinking 1 From 1810 Peale concentrated on still life painting almost exclusively becoming America s first professional still life painter and he exhibited frequently at the Pennsylvania Academy of the Fine Arts and elsewhere especially from 1814 to 1818 2 By 1813 he was unable to walk without crutches 1 After the downturn in his health in an era when most artists considered still life a subject worthy only of amateurs he devoted himself almost exclusively to still life painting It is for these works he is best known His work was on frequent exhibit at the Pennsylvania Academy of the Fine Arts between 1814 and 1818 After reportedly indulging in a night of heavy drinking his health destroyed he died on March 4 1825 1 at age 51 at his home in Philadelphia Style EditAlfred Frankenstein has called Raphaelle Peale the first really distinguished still life specialist to emerge in this country and he is one of the four major still life painters of the nineteenth century in the United States 3 His style may have been influenced by Spanish still life paintings he saw on his trip to Mexico and by the two works by Juan Sanchez Cotan exhibited at the Pennsylvania Academy in 1816 1 Most of Peale s paintings are small in scale and depict a few objects usually foodstuffs arranged on a tabletop before a darkened background A notable exception to this is his trompe l œil Venus Rising from the Sea A Deception also entitled After the Bath 1822 in the collection of the Nelson Atkins Museum of Art 4 This painting serves as a distinct thematic departure from his other work While the dark backdrop is consistent with his still life works 5 there were themes of this work that make it unique amongst Peale s other works Instead of featuring food the subject is instead Venus who is just barely visible from behind the napkin covering her This theme of covering is consistent with a previous work of his Peaches Covered by a Handkerchief By covering the subject Peale introduced a theme of mystery to his painting which has survived to this day The act of covering a nude figure was not new to the world of art however Peale took this choice literally when painting the cover into the painting itself 6 The mystery of this work is compounded by the lack of clear date on the painting itself due to a smudged last digit 5 There was also an element of humor within this particular work According to family stories Peale painted this work in part as a prank on his wife Making it appear as if he was hiding a pornographic image under a napkin he wanted to goad his wife into scratching at the canvas 6 This sets this painting apart from the other Peale works which tend to follow a more straightforward approach as previously mentioned It was his nephew George Escol Sellers s opinion that Raphaelle Peale was the most talented of Charles Wilson Peale s artist children and that it was the Revolution that made him the wreck he was 7 Notable works Edit Portrait of Absalom Jones 1810 Delaware Art Museum Cheese with three crackers 1813 Melons and Morning Glories 1813 Still Life with Orange and Book 1815 Still Life Basket of Peaches 1816 Still Life with Cake 1816 Still Life with Oranges 1818 Still Life with Cake 1818 Metropolitan Museum of Art Still Life with Peaches 1821 Venus Rising from the Sea A Deception 1822 Still Life Strawberries Nuts amp c 1822Blackberries c 1813 Melons and Morning Glories 1813 A Dessert Still Life with Lemons and Oranges 1814 Still Life with Orange and Book 1815 Fruit Pitcher and Pretzel unknown Bowl of Peaches 1816 Still Life with Fruit Cakes and Wine 1821 Still Life with Peaches 1822 Lemons and Sugar unknownNotes Edit a b c d e f Lloyd 1988 a b Smithsonian American Art Museum collection record citing William Kloss Treasures from the National Museum of American Art Washington D C and London National Museum of American Art with the Smithsonian Institution Press 1985 Frankenstein p 32 Conrads Margaret C 2007 01 01 American Paintings to 1945 The Collections of The Nelson Atkins Museum of Art The Nelson Atkins Museum of Art a b Ward David C Hart Sidney 1994 Subversion and Illusion in the Life and Art of Raphaelle Peale American Art 8 3 4 97 121 doi 10 1086 424225 ISSN 1073 9300 JSTOR 3109174 S2CID 191551162 a b Evans Dorinda 1982 Raphaelle peale s Venus Rising from the Sea Further Support for a Change in Interpretation American Art Journal 14 3 63 72 doi 10 2307 1594328 ISSN 0002 7359 JSTOR 1594328 Cikovsky Nicolai Jr Bantel Linda Wilmderding John Raphaelle Peale Still Lifes PDF New York National Gallery of Art Washington Pennsylvania Academy of the Fine Arts Philadelphia Distributed by Harry N Abrams Inc pp 115 16 Retrieved March 26 2017 Uncle Raphael was in reality the most talented of Grandpa s sons and it was the Revolution that made him the wreck he was References EditEvans Dorinda Raphaelle Peale s Venus Rising from the Sea Further Support for a Change in Interpretation American Art Journal vol 14 no 3 Kennedy Galleries Inc 1982 pp 63 72 https doi org 10 2307 1594328 Frankenstein Alfred The Reality of Appearance Greenwich New York Graphic Society 1970 ISBN 0 8212 0357 6 Lauren Lessing and Mary Schafer Unveiling Raphaelle Peale s Venus Rising from the Sea A Deception Winterthur Portfolio 43 July August 2009 229 59 http www jstor org stable 10 1086 600814 32 pages Phoebe Lloyd Philadelphia Story Art in America November 1988 154 171 195 200 Margaret C Conrads ed The Collections of The Nelson Atkins Museum of Art American Paintings to 1945 vol 1 https archive org details americanpainting01conr Margaret C Conrads ed The Collections of The Nelson Atkins Museum of Art American Paintings to 1945 vol 2 https archive org details americanpainting02conr 1 Ward David C and Sidney Hart Subversion and Illusion in the Life and Art of Raphaelle Peale American Art vol 8 no 3 4 University of Chicago Press Smithsonian American Art Museum 1994 pp 97 121 http www jstor org stable 3109174External links Edit Wikimedia Commons has media related to Raphaelle Peale Raphaelle Peale at Artcyclopedia com Raphaelle Peale 1774 1825 Artwork Images Exhibitions Reviews list of works World Wide Arts Resources 2007 webpage WWAR RPeale The Metropolitan Museum of Art Works of Art American Paintings history Metropolitan Museum of Art 2007 webpage MMA RPeale Birmingham Museum of Art A Portrait of Margaret George McGlathery 1817 Raphaelle Peale from the Smithsonian American Art Museum Retrieved from https en wikipedia org w index php title Raphaelle Peale amp oldid 1121885957, wikipedia, wiki, book, books, library,
