BGuthrie Photos: DC -- Donald W. Reynolds Center (NPG) -- Exhibit: America's Presidents

DC -- Donald W. Reynolds Center (NPG) -- Exhibit: America's Presidents:

Bruce Guthrie Photos Home Page: [Click here] to go to Bruce Guthrie Photos home page.

Description of Pictures: Pictures here include the newly unveiled Shepard Fairey iconic "Hope" image. Made of a composite of materials, it was only up temporarily and then they got to work trying to figure out how to conserve it.
Also here is the new Bill Clinton portrait, this time with a wedding ring!

Recognize anyone? If you recognize specific folks (or other stuff) and I haven't labeled them, please identify them for the world. Click the little pencil icon

underneath the file name (just above the picture). Spammers need not apply.

Slide Show: Want to see the pictures as a slide show? [Slideshow]

Copyrights: All pictures were taken by amateur photographer Bruce Guthrie (me!) who retains copyright on them. Free for non-commercial use with attribution. See the [Creative Commons] definition of what this means. "Photos (c) Bruce Guthrie" is fine for attribution. (Commercial use folks including AI scrapers can of course contact me.) Feel free to use in publications and pages with attribution but you don't have permission to sell the photos themselves. A free copy of any printed publication using any photographs is requested. Descriptive text, if any, is from a mixture of sources, quite frequently from signs at the location or from official web sites; copyrights, if any, are retained by their original owners.

Help? The Medium (Email) links are for screen viewing and emailing. You'll want bigger sizes for printing. [Click here for additional help]

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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. SIPGPR_090117_10.JPG: Barack Obama born 1961 Born Honolulu, Hawaii Shepard Fairey's Barack Obama "Hope" poster became the iconic campaign image for the first African American president of the United States. Early in 2007, the Los Angeles-based graphic designer and graffiti artist produced his first Obama portrait, with a stenciled face, visionary upward glance, and the caption "Progress." In this second version, Fairey repeated the heroic pose and patriotic color scheme, substituting the slogan "Hope." The artist's intention that the image be widely reproduced and "go viral" on the Internet exceeded his greatest expectations. The campaign sold 50,000 official posters; a San Francisco streetwear company produced T-shirts; grassroots organizations disseminated hundreds of thousands of stickers; and a free downloadable version generated countless repetitions. Although the reproduction rarely conveys the elegant surface patterning seen in this original collage, they forged an unprecedented and powerful icon for Barack Obama's historic campaign. Shepard Fairey (born 1970) Hand-finished collage, stencil, and acrylic on paper, 2008 Gift of the Heather and Tony Podesta Collection in honor of Mary K. Podesta Note: The famous Shepard Fairey poster was unveiled that morning.
2. SIPGPR_090118_14.JPG: Bruce Guthrie, Hope
3. SIPGPR_090129_02.JPG: Barack Obama (detail): Some close-ups of the collage that's behind the Obama portrait. You'll recognize parts of the pattern from the artist's Obey series.
4. SIPGPR_090129_04.JPG: Artist's autograph
5. SIPGPR_090129_05.JPG: Barack Obama (detail): The "O" character has the word "morphine" prominently in it.
6. SIPGPR_090209_32.JPG: Barack Obama (detail): The word "Morphine" is centered within the Obama "O".
7. SIPGPR_090322_014.JPG: George Washington, 1732-1799 (Charles Wilson Peale portrait) (detail)
8. SIPGPR_090322_017.JPG: George Washington, 1732-1799 (Charles Wilson Peale portrait) (detail)
9. SIPGPR_090322_025.JPG: George Washington, 1732-1799 (Lansdowne portrait)
10. SIPGPR_090322_028.JPG: George Washington, 1732-1799 (Lansdowne portrait) (detail)
11. SIPGPR_090322_041.JPG: Andrew Jackson, 1767-1845 (Ralph Earl portrait): With the possible exception of Abraham Lincoln, no nineteenth-century president wielded his powers more aggressively than Andrew Jackson, which is confirmed by his use of the presidential veto over Congress. Unlike his predecessors, who invoked that power on strictly constitutional grounds, Jackson vetoed key congressional measures, not because he deemed them illegal, but simply because he did not like them. In doing so, he set a precedent that vastly enlarged the presidential role in congressional law-making. Among Jackson's opponents, this executive activism drew charges of dictatorship. Those accusations, however, carried little weight among yeoman farmers and laborers, who doted on Jackson's professed opposition to elitism. Jackson is here depicted in the last year of his presidency, standing on the east portico of the White House with the Capitol in the distance. In 1836, Jackson selected the plan ,architects, and site for the new Patent Office Building, now the home of the National Portrait Gallery and the Smithsonian American Art Museum. Ralph E.W. Earl, 1836-37
12. SIPGPR_090322_083.JPG: Zachary Taylor, 1784-1850 Throughout his career as a professional soldier, Zachary Taylor took no more than a passing interest in politics. But his victories at the battles of Palo Alto, Monterrey, and Buena Vista during the Mexican War changed all of that. In their wake, this "rough and ready" general became eminently ripe for elective office. Even if Taylor had wanted to, he perhaps could not have stopped the groundswell of determination within the Whig Party to elect him president in 1848. Upon entering the White House, Taylor declared his intention to bring harmony to the Union. Yet his refusal to placate the South by allowing slavery in some of the new territories acquired during the Mexican War did quite the opposite. Within a year of Taylor's coming to office, the country seemed to be moving toward civil war. Only after his unexpected death in July 1850 did compromise on this divisive issue become possible. Attributed to James Reid Lambdin, 1848
13. SIPGPR_090322_100.JPG: John Tyler, 1790-1862: In rallying to the cry of "Tippecanoe and Tyler, too" in 1840, voters had their eyes fixed on the Whig Party's White House contender referred to in the first half of that catchy slogan -- William Henry Harrison, hero of the Battle of Tippecanoe. For most, his vice-presidential running mate, John Tyler, represented merely an afterthought. Within a month of his inauguration, however, Harrison was dead, and Tyler became the first vice president to be made president upon the death of his predecessor. Tyler claimed the full powers of the presidency on taking office and thereby set a valuable precedent for future vice presidents who faced his situation. But Tyler's White House tenure was tempestuous. When his belief in the limited powers of federal government led him to veto his fellow Whigs' measure for re-establishing a national bank, he found himself deserted by his cabinet, formally read out of his party, and branded "His Accidency" by former allies. George P.A. Healy, 1859
14. SIPGPR_090322_113.JPG: Millard Fillmore, 1800-1874: At the beginning of his administration, Millard Fillmore bestowed his presidential blessing on the Compromise of 1850 -- Senator Henry Clay's proposal to unite the North and the slaveholding South. The ensuing harmony, however, was short-lived. Among the compromise's concessions to the South was the new Fugitive Slave Law, which facilitated the capture of runaway slaves, and Fillmore was determined to enforce it. As northern abolitionists sought to undermine the enforcement, tempers on both sides of the issue flared again. The sectional bitterness made a future rupture over slavery all but certain. Fillmore's portrait by an unidentified artist dates to about the time he retired from the House of Representatives in the early 1840s. In the years following, he devoted to reconciling the growing differences among fellow Whigs in his native New York State. Unidentified artist, c 1843
15. SIPGPR_090323_002.JPG: George Washington, 1732-1799 (Pine portrait). George Washington, appointed commander-in-chief of the Continental army, took command of a ragtag force of some 17,000 men in July 1775. He kept an army together for the next eight-and-a-half years -- losing more battles than he won -- but effectively ended the war with his victory at Yorktown in October 1781. Mission accomplished, Washington -- a hero who could have been kind -- resigned his military commission before Congress on December 23, 1783, and retired to Mount Vernon. Here, the man all artists yearned to portray posed in his Continental army uniform for English artist Robert Edge Pine and wryly observed, "I am so hackneyed to the touches of the Painter's pencil, that I am now altogether at their beck, and sit like patience on a Monument." Robert Edge Pine, 1785
16. SIPGPR_090323_017.JPG: George Washington, 1732-1799 (Ceracchi sculpture): This heroic sculpture depicts George Washington as a Roman emperor, a popular European tradition for representing political and military leaders. The portrait is based on a likeness modeled in Philadelphia in 1791 or 1792 by Italian sculptor Giuseppe Ceracchi, who came to the United States seeking the commission for a congressional monument to Washington (which was never made). A plaster cast of his life portrait of Washington was acquired in 1809 by Thomas Appleton, American consul in Livorno (Leghorn), Italy. A decade later, Italian sculptor Massimiliano Ravenna made several marble copies of the portrait for sale in the United States. Attributed to Massimiliano Ravenna, after Giuseppe Ceracchi, 1819
17. SIPGPR_090323_021.JPG: George Washington, 1732-1799 (Ceracchi sculpture)
18. SIPGPR_090323_030.JPG: Thomas Jefferson, 1743-1826 (Sokolnicki): This print resulted from a friendship that developed in 1798 between Thomas Jefferson and Tadeusz Kosciuszko, a Polish-born patriot who had fought in the American Revolution. General Kosciuszko returned to the Untied States in 1797. An amateur artist trained in topographical drawing, he persuaded Jefferson to sit for a profile likeness. Kosciuszko took his now-lost watercolor portrait to Paris, where it was engraved by the Polish nobleman Michael Sokolnicki. Jefferson received four copies of the print from Kosciuszko and gave some of them away to family and friends, including James Madison. Michel Sokolnicki, after Tadeusz Kosciuszko, 1798-99
19. SIPGPR_090323_060.JPG: Thomas Jefferson, 1743-1826 (Gilbert Stuart portrait) (detail)
20. SIPGPR_090323_067.JPG: Martha Washington (detail)
21. SIPGPR_090323_110.JPG: George Washington, 1732-1799 (Lansdowne portrait) (detail)
22. SIPGPR_090323_116.JPG: George Washington, 1732-1799 (Lansdowne portrait) (detail)
23. SIPGPR_090323_119.JPG: George Washington, 1732-1799 (Lansdowne portrait) (detail)
24. SIPGPR_090323_124.JPG: George Washington, 1732-1799 (Lansdowne portrait) (detail)
25. SIPGPR_090323_129.JPG: The National Portrait Gallery is proud to hold one of two official national collections of presidential portraits. The other belongs to the White House. Some of the portraits are more sophisticated than others; some are calculated to impress us with their gravity; some are warmly intimate. Together they have one thing in common; they all evoke the history of the nation's highest office and the individuals who have held it in trust for the American people. The first citizens of our republic came to know their presidents through paintings, sculpture, or prints. Later, representation was enhanced through photographs and then through the technological revolutions of film, radio, television, and other new media. In all of these forms, the president's portrayal has reflected an ongoing dialogue about the office itself, and posing for the presidential portrait has become part of the process by which chief executives have affirmed their understanding of the role.
26. SIPGPR_090323_145.JPG: Martha Washington, 1731-1802 Gilbert Stuart painted this portrait of Martha Washington at the same time he did that of the president. Both paintings were commissioned by the Washingtons. They were never completed, however, and the artist kept them in his possession until his death. Although Stuart made many copies of the president's portrait, no other likeness of Martha Washington by Stuart is known to exist. Gilbert Stuart, 1796
27. SIPGPR_090323_149.JPG: George Washington, 1732-1799 (Rembrandt Peale portrait): When Americans chose their first president under the new Constitution of 1788, George Washington's election was a foregone conclusion. But despite Washington's prestige, his presidency had its critics. Toward the end of his administration, one newspaper branded him a "scourge and misfortune." The portrait shows some of the stress that even our first president felt under the burden of the office. Even under attack, however, Washington's firm leadership gave credibility to the new federal government and assured its survivability. Young Rembrandt Peale, then seventeen, was so nervous about painting Washington that his artist father, Charles Wilson Peale, had to come along to the sittings to soothe his son's jangled nerved. The younger Peale made several replicas of his resulting portrait, including this version. Rembrandt Peale, 1795
28. SIPGPR_090323_171.JPG: George Washington, 1732-1799 (Houdon portrait): In 1784, the much-admired French sculptor Jean-Antoine Houdon agreed to execute a full-length marble statue of George Washington for the Virginia State Capitol in Richmond, and he traveled to America the following year to make a life mask of his subject. In addition to serving as an aid in completing the final marble statue, the mask became the basis for master plaster and terra-cotta busts of Washington, including this one. Houdon fashioned the first of these smaller likenesses while still in the United States, and before returning to France he presented it to Washington. The marble statue took some ten years to complete and still resides in the Virginia Capitol. Jean-Antoine Houdon, c 1786
29. SIPGPR_090323_177.JPG: George Washington, 1732-1799 (Heath engraving): James Heath's engraving of Stuart's "Lansdowne" portrait of George Washington: Gilbert Stuart's full-length portrait of George Washington was sent to London in the fall of 1796, where its owner, the Marquis of Lansdowne, gave James Heath permission to engrave it. The English print was published soon after Washington's death in December 1799. Heath erroneously identified the painter as "Gabriel" Stuart, not Gilbert Stuart, and gave an incorrect date of 1797. Stuart learned about Heath's engraving when he saw examples for sale in a Philadelphia print shop. Angry at the loss of artistic control of the engraving -- as well as of the income its sales would bring -- Stuart complained without success to William Bingham, who had, he thought, promised to secure copyright for the image. Stuart also drafted a letter to Lord Lansdowne about the publication of the print "without my privilege and participation," which was never sent. James Heath, after Gilbert Stuart, 1800
30. SIPGPR_090323_199.JPG: George Washington's letter to Gilbert Stuart, April 11, 1796: In this letter, George Washington arranged a sitting for the full-length portrait known as the "Lansdowne" portrait, now in the Portrait Gallery's collection. The painting was commissioned by American senator William Bingham as a gift to the Marquis of Lansdowne, the Englishman who had supported peace with the American colonies at the end of the Revolutionary War. Washington notes to artist Gilbert Stuart that he is "under promise to Mrs. Bingham to set [sit] for you tomorrow," and asks if the sittings would be at Stuart's Philadelphia house or at the State House (Independence Hall). Stuart later added that this was one of three life portraits that he had painted of Washington. Two of these -- the "Lansdowne" and the "Athenaeum" -- belong to the National Portrait Gallery. Stuart painted a third, earlier, portrait of Washington in 1795, but, as he notes here, he had "rubbed it out." Lent by the Earl of Rosebery
31. SIPGPR_090323_208.JPG: John Adams, 1735-1826 In 1789, after performing invaluable service to his country both during and after the Revolution, John Adams became George Washington's vice president and the first to discover how insignificant that office could be. The position, however, yielded one important compensation: it became the springboard for his election to the presidency in 1796. Chief among Adams's presidential successes was the avoidance of hostilities over France's infringement on American neutrality in the war between France and Great Britain. Unfortunately, Adams pleased no one in doing so, and he left the White House in 1801 largely discredited on all sides. Recalling his administration years later, he noted, "No man who ever held the office of president would ever congratulate a friend on obtaining it." This portrait was derived from sittings that occurred during Adams's vice presidency. By then, John Trumbull had painted two other likenesses of Adams, including one that was eventually incorporated into Trumbull's picture depicting the singing of the Declaration of Independence, which now resides in the US Capitol rotunda. John Trumball, 1793
32. SIPGPR_090323_252.JPG: Dolley Madison, 1768-1849: Dolley Madison served as White House hostess during the administrations of the widowed Thomas Jefferson and her own husband, James Madison. Her effervescence doubtless accounted, in part at least, for the popularity of Madison's presidency in its last several years. After the end of Madison's term in 1817, Dolley helped her husband put his papers in order, selling a portion of them to Congress after his death. William Elwell painted Dolley Madison's portrait in February 1848 and later sold it to her long-time friends William Winston Seaton, editor and co-owner of the Washington DC newspaper The National Intelligencer. The portrait offers a glimpse of the aging Mrs. Madison, described by the artist in his diary as "a very Estimable lady -- kind & obliging -- one of the Old School." William S. Elwell, 1848
33. SIPGPR_090323_258.JPG: Martin Van Buren, 1782-1862 Martin Van Buren's genius as a backroom strategist earned him the nickname of "Little Magician." But when he succeeded to the White House following his tenure as Andrew Jackson's vice president, the gift of orchestration that he had enlisted to promote Jackson's cause proved of little use in advancing his own. At the heart of the problem was an economic depression that persisted through most of his term and for which he was blamed. Damaging him further was a taste for the finer things of life, which led critics to portray him as indifferent to the country's suffering. Van Buren's reputation has improved, however, and today he is often lauded for his evenhanded foreign policy and landmark support for limiting the hours of workers on public projects. This was one of the first likenesses that the White House acquired under an 1857 congressional act authorizing the purchase of presidential portraits. The artist named to do the work in the legislation was George P.A. Healy, one of mid-nineteenth-century America's most popular portraitists. George P.A. Healy, 1864
34. SIPGPR_090323_267.JPG: Martin Van Buren (detail)
35. SIPGPR_090323_277.JPG: Martin Van Buren (detail)
36. SIPGPR_090323_282.JPG: William Henry Harrison, 1773-1841 As a two-term congressman and former territorial governor, William Henry Harrison could lay no claim to proven abilities in political leadership. But his reputation as a frontier Indian fighter and hero of the War of 1812 amply made up for this, and in 1840 the Whigs eagerly made him their presidential standard-bearer. In the so-called "hard cider" campaign that followed, Harrison's supporters celebrated his military prowess, and combined it with home-spun frontier imagery that was unprecedented for its carnival-like brouhaha. While discussion of real issues was avoided, that brouhaha proved sufficient in itself to win Harrison the presidency. Jubilance over his victory, however, proved short-lived. Soon after delivering the longest inaugural address ever made, Harrison contracted pneumonia and, on April 4, 1841, became the first president to die in office. Albert Gallatin Hoit, 1840
37. SIPGPR_090323_292.JPG: National Whig Song: The partisan ballyhoo of prints, cartoons, song sheets, and broadsides was particularly effective during the raucous electioneering of the 1840 presidential campaign. Promoters transformed William Henry Harrison, the college-educated Whig candidate, into a champion of the common man. When a critic's sneering comment that Harrison, if given a pension and a barrel of hard cider, would be content to retire to his log cabin, Whig campaigners seized on the imagery, enlivening mass rallies with free cider, new campaign songs, and log cabin pictures. The words to the "National Whig Song" helped inspire Harrison's supporters: "Come to the fight; we'll win the field -- away with doubts and fears; The People's man is HARRISON -- let's give him three good cheers." The lower and middle classes had suffered keenly after the Panic of 1837, and populist symbols, slogans, and tunes greatly helped Harrison's cause. Attributed to William Sharp, 1840
38. SIPGPR_090323_325.JPG: Andrew Jackson, 1767-1845 (Ralph Earl portrait) (detail)
39. SIPGPR_090323_340.JPG: Andrew Jackson, 1767-1845 (Ralph Earl portrait) (detail)
40. SIPGPR_090323_358.JPG: James Madison, 1751-1836 As a central figure in framing the Constitution, James Madison had a good deal of influence over shaping the American presidency. But helping to conceive that office did not guarantee success in occupying it, and much of Madison's own presidency was marred by his inept handling of the War of 1812 and the bitter criticism that it engendered. Derisively labeled "Mr. Madison's War," the conflict, one commentator railed, had been "commenced in folly... carried on with madness, and... will end in ruin." The advent of peace in late 1814, however, mellowed feelings toward Madison. Although many of the issues that had spawned hostilities remained unresolved, the war had produced enough military glory to satisfy national pride. In the process, Madison emerged as the American David who had dared to take on the British Goliath. In 1829, Madison came out of retirement to attend a convention for revising Virginia's constitution. While there, he posed for this portrait by the Massachusetts painter Chester Harding. Chester Harding, 1829-30
41. SIPGPR_090323_366.JPG: James Monroe, 1758-1831 In 1820, White House incumbent James Monroe stood virtually unopposed in his bid for a second term, an expression of the so-called "Era of Good Feelings" that set in after the War of 1812 and was marked by a temporary halt in two-party factionalism. Monroe brought to his presidency a style that meshed well with this rancorless climate. When, for example, he vetoed public improvements legislation, he offered Congress suggestions for accomplishing the same end through means that circumvented his Constitution-based objections. The most enduring legacy of his administration, however, was the Monroe Doctrine, which registered opposition to European meddling in the Western Hemisphere. It ultimately became a keystone of American foreign policy. Gilbert Stuart, c 1820-1822
42. SIPGPR_090323_376.JPG: John Quincy Adams, 1767-1848 John Quincy Adams's tenure as James Madison's secretary of state ranks among the most productive in the history of that office. But Adams's often tactless ways were ill-suited for the presidency, and when his vision for such items as a comprehensive national transportation system met with hostility in Congress, he would not compromise. As a result, his administration's accomplishments were meager. But Adams was not through with political life. Elected to the House of Representatives in 1830, he served there until his death. In his prolonged and successful struggle defending the antislavery movement's right to petition Congress, "Old Man Eloquent" had gained a circle of admirers that extended well beyond his Massachusetts constituency. When Adams sat for this portrait, he doubted that artist George Caleb Bingham could produce "a strong likeness." But Bingham did just that, and this portrait's vitality seems to echo Ralph Waldo Emerson's comment that the aging Adams was "like one of those old cardinals, who was quick as he is chosen Pope, throws away his crutches and his crookedness, and is as straight as a boy;." George Caleb Bingham, c 1850, after 1844 original
43. SIPGPR_090323_388.JPG: Franklin Pierce, 1804-1869 In 1852, Franklin Pierce seemed to his fellow Democrats to be an ideal choice for the presidency. A northerner with southern sympathies, Pierce could seemingly engender credibility in both regions in a year marked by continuing debate over slavery. But his willingness to listen to proslavery extremists served the country poorly once he was in office. The most obvious case in point was his approval of the Kansas-Nebraska Act in 1854, which allowed slaveholders to settle in an area once closed to slavery. The result was armed violence in Kansas and an escalation in hostilities between North and South. Northerners could not find words harsh enough to describe him: Ralph Waldo Emerson, for example, accused him of "imbecility." George P.A. Healy derived the original version of this image from sittings that took place in Boston in November 1852, shortly after Pierce's election was confirmed. At the same time, Healy was painting for pierce of likeness of the president-elect's campaign biographer and long-time friend Nathaniel Hawthorne. George P.A. Healy, 1853
44. SIPGPR_090323_390.JPG: Franklin Pierce (detail)
45. SIPGPR_090323_432.JPG: Ulysses S. Grant, 1822-1885 (Thomas Nast cartoon): It was one of General Ulysses S. Grant's small good fortunes after the Civil War, as he began settling into the White House as the eighteenth president, to count one of the nation's leading political cartoonists, Thomas Nast, as a friend. In part, Grant attributed his election to the presidency in 1868 "to the pencil of Nast"; the cartoonist was a staunch supporter of both Grant and the Republican Party. Nast developed a camaraderie with the president and the first family, as this watercolor drawing of Grant might suggest. Yet Nast's drawing of Grant has, in hindsight, become a caricature of his "armchair" presidency, one in which he relegated too much authority to untrustworthy subordinates, and interpretation that the artist never intended to suggest. Thomas Nast, 1872
46. SIPGPR_090323_444.JPG: Indian Peace Medals: Indian peace medals are an important part of the history of US presidential portraiture and also an essential element in federal Indian policy. Presented to Indian chiefs on such important occasions as the signing of a treaty or a visit to the nation's capital, the medals gave rank and distinction, and many were passed down from generation to generation. In the first half of the nineteenth century, design was determined by the need to win the allegiance of the Indians. Medals contained the likeness of the president on one side and symbols of peace and friendship on the other. Acceptance of a medal marked the Indian's friendship and loyalty to the United States. By midcentury, the medals encouraged assimilation of the Indian into American society.
47. SIPGPR_090323_495.JPG: James K. Polk, 1795-1849 It is often said that James K. Polk was the first "dark horse" to claim a presidential nomination, and during his White House campaign of 1844, his opponents were fond of sneering, "Who is James Polk?" Once he was in office, however, the question quickly lost its sarcastic bite. A diligent worker who abhorred the thought of time unprofitably spent, Polk set four goals for his presidency -- reducing tariffs, creating an independent treasury system, settling the Oregon boundary dispute with Great Britain, and acquiring California. None of the four objectives was easily reached, and gaining California meant going to war with Mexico. By this administration's close, however, all had been accomplished. Unfortunately, Polk's success came at great personal cost. A spent man, he died within four months of retiring to private life. George P.A. Healy, 1846
48. SIPGPR_090328_044.JPG: Thomas Jefferson, 1743-1826 (Gilbert Stuart portrait): Thomas Jefferson's tombstone notes, by his own instruction, that he authored the Declaration of Independence, founded the University of Virginia, and was responsible for Virginia's Statue for Religious Freedom. But it fails to mention that this philosopher, inventor, and scientist was also president of the United States. This does not mean that his administration lacked significance. During Jefferson's presidency, the nation acquired from France the vast wilderness known as the Louisiana Purchase and successfully stood its ground against extortion attempts from Barbary Coast pirates in the Mediterranean. These early successes, however, paled in comparison to the wrath later heaped on Jefferson in the wake of the economically disastrous trade embargo he imposed in response to British and French interference with US shipping. A much-beleaguered Jefferson ended his presidency by calling it a best-forgotten "splendid misery." Gilbert Stuart was not only early America's most admired portraitist but also an eccentric known for procrastinating. After sitting for this portrait in 1805, Jefferson had to wait sixteen years before it was finally delivered. Gilbert Stuart, 1805/1821
49. SIPGPR_090328_099.JPG: Theodore Roosevelt, 1858-1919 (Philip de Laszlo portrait): No one ever craved the presidency more than Theodore Roosevelt, or used its powers more joyously. In early 1901, however, his rise toward that office was suddenly checked. Having gained national prominence as a civil service reformer, Spanish-America War hero, and reform-minded governor of New York, he was now relegated to being William McKinley's vice president. But McKinley's assassination several months later changed everything, and Roosevelt was soon rushing headlong into one of American history's most productive presidencies. By the time he left office in 1909, his accomplishments ranged from implementing landmark efforts to conserve the nation's disappearing natural heritage, to instituting some of the first significant curbs on the excesses of big business, to building the Panama Canal. When Hungarian-born English artist Philip de Laszlo painted the original version of this portrait, he encouraged Roosevelt to have visitors chat with him during the sittings, apparently thinking that it made for a more animated likeness. Adrian Lamb, after Philip de Laszlo, 1967, after the 1908 original
50. SIPGPR_090328_109.JPG: Theodore Roosevelt, 1858-1919 (Philip de Laszlo portrait) (detail)
51. SIPGPR_090328_115.JPG: Theodore Roosevelt, 1858-1919 (Eugene Zimmerman): And Teddy (Roosevelt) Comes Marching Home: In 1898, Theodore Roosevelt's political ambitions were greatly enhanced as a result of his participation in the Spanish-American War. Roosevelt had resigned his post as assistant secretary of the navy, from which he had argued the case for war against Spain, to organize the first US Volunteer Cavalry Regiment, which served in Cuba. He returned a hero after leading his rugged regiment -- the "Rough Riders" -- to victory in the San Juan highlands above Santiago. Roosevelt received voluminous praise, as suggested by this cartoon fro Judge magazine, in which he is shown riding upon an elephant, symbol of the Republican Party. His name was even being mentioned for the presidency. That fall, Roosevelt was elected governor of New York. Two years later, he was elected vice president for President William McKinley's second administration. When McKinley was assassinated in 1901, Roosevelt became, at age forty-two, the youngest president of the United States. Eugene Zimmerman, 1898
52. SIPGPR_090328_124.JPG: Theodore Roosevelt, 1858-1919 (Farnham bas-relief): Jacob Riis, the noted journalist and advocate for New York City's underprivileged tenement population at the turn of the twentieth century, commissioned this bas-relief of his friend Theodore Roosevelt. When Roosevelt was a city police commissioner (1895-97), Riis was a valuable source of information because he understood the reforms needed in the police department, as well as the evils of the slums. In 1906, Riis opened the Henry Street Settlement House and had this bas-relief, sculpted by Sally James Farnham, placed in the gymnasium. Farnham got the chance to sketch Roosevelt, by then president, at an informal cabinet meeting. The settlement house was sold in 1952, and the bas-relief was later acquired by the National Portrait Gallery. Sally James Farnham, c 1906
53. SIPGPR_090328_132.JPG: Theodore Roosevelt, 1858-1919 (Farnham bas-relief) (detail)
54. SIPGPR_090328_137.JPG: Theodore Roosevelt, 1858-1919 (Peter Juley photograph): Theodore Roosevelt in riding attire: President Theodore Roosevelt's dynamic view of the presidency infused vigor into a branch of government that had been dominated by Congress during the last three decades of the nineteenth century. His personal energy mirrored his executive activities. Riding and hiking were almost daily pastimes; one senator joked that anyone wishing to have an influence with the president would have to buy a horse. This photograph by Peter Juley of Roosevelt dressed in his riding clothes appeared on the cover of Harper's Weekly on July 2, 1904. Peter A. Juley, 1903
55. SIPGPR_090328_146.JPG: Rutherford B. Hayes, 1822-1893 The presidential election of 1876 was among the closest in American history. Although Democratic candidate Samuel J. Tilden won the popular vote by 250,000, his Electoral College total was one short of the majority needed for election. Republican Rutherford B. Hayes would not concede because of disputed results in Florida, Louisiana, South Carolina, and Oregon. Both parties agreed to appoint an Electoral Commission, which awarded the Florida vote and presidency to Hayes. A prior secret agreement between Republicans and Democrats made Hayes president in return for his withdrawal of federal troops from the South. This effectively ended Reconstruction and black political participation in the South, and it restored the rule of the Democratic Party there. Even though he was not a strong president, Hayes did take initial steps toward curbing corrupted in the civil service. Hayes's portraitist, Eliphalet Andrews, was the founding director of Washington DC's Corcoran School of Art. Eliphalet Andrews, 1881
56. SIPGPR_090328_158.JPG: James A. Garfield, 1831-1881 Through repeated balloting at the Republican convention of 1880, delegates remained deadlocked in naming a presidential candidate. Finally, after thirty-five ballots, they were ready for a compromise. Rejecting both front-runners -- James Blaine and Ulysses S. Grant -- the delegates endorsed Ohio congressman James A. Garfield, whose aspirations had been limited to becoming a senator. The patronage-driven factionalism that led to Garfield's nomination continued to fester following his assumption of the presidency. On July 2, 1881, angered that Garfield had not awarded him a public office, a member of a GOP faction shot the president as he went to board a train. Eleven weeks later, Garfield was dead from his wound. This staid portrait by Norwegian artist Ole Peter Hanson Balling may have captured Garfield's physical traits accurately, but it did not convey his spell-binding impact on people. Having once been a lay preacher, Garfield was at his most impressive when speaking. According to one observer, his thoughts sometimes seemed to issue forth at the podium "like solid shot from a cannon." Ole Peter Hansen Balling, 1881
57. SIPGPR_090328_168.JPG: Chester A. Arthur, 1830-1886: When Vice President Chester Arthur succeeded to the presidency on the death of James Garfield, a newspaper noted that he was "not a man who would have entered anybody's mind" as a worthy candidate for the office. Indeed, as a major player in a spoils system that reduced the civil service to a vehicle for rewarding party faithful, he struck many as an emblem of all that was wrong in American politics. As president, however, Arthur rose above his past to promote landmark legislation designed to curb the spoils system. He also proved to be a foe of other forms of corruption. When, for example, a "pork barrel" bill for public improvements reached his desk, he vetoed it. This head-and-shoulders portrait can only hint at the fashionable figure that Arthur cut. With his muttonchop whiskers "trimmed to the perfection point" and his suits made of only the finest fabrics, he invariably looked like the very epitome of the well-bred Victorian gentleman. Ole Peter Hansen Balling, 1881
58. SIPGPR_090328_196.JPG: Benjamin Harrison, 1833-1901: Much like his presidential grandfather William Henry Harrison, Benjamin Harrison did not owe his White House nomination of 1888 to lustrous performances in lesser political offices. Rather, he was safe, clean, and loyal member of the Republic Party. Known as the "iceberg," Harrison was unusually detached from the normal hurly-burly of politics, and in domestic matters his presidential style was essentially passive. As a result, he took little part in shaping the major congressional measures of his administration, including the landmark Sherman Antitrust Act. In foreign policy, however, Harrison exercised more influence, and his enthusiasm for a stronger American posture in the international arena foreshadowed this country's emergence as a world power after 1900. Harrison's portraitist, Theodore Steele, was an Indiana painter best known for his impressionistic landscapes. One of four Harrison likenesses done by Steele, this version belonged to the Harrison family for many years. Theodore C. Steele, 1900
59. SIPGPR_090328_201.JPG: Benjamin Harrison, 1833-1901 (detail)
60. SIPGPR_090328_212.JPG: Benjamin Harrison -- Folk portrait: This crudely carved portrayal of Benjamin Harrison is a memento from his 1888 presidential campaign. One noteworthy aspect of the contest was the quantity of funds raised to promote Harrison's candidacy. Built up largely through donations from eastern businessmen who supported Harrison's call for a high protective tariff, his presidential war chest contained in excess of three million dollars. By modern standards, that figure seems almost paltry, but in the late nineteenth century it was an extraordinary sum of money. Unidentified artist, 1888
61. SIPGPR_090328_240.JPG: William McKinley, 1843-1901 William McKinley's "front porch" campaign for the White House in 1896 consisted mainly of speeches delivered to well-wishers flocking by train to his Canton, Ohio, home. As president, the main focus of his administration lay in responding to calls for aid in Cuba's struggle against Spanish rule. Although reluctant to meddle, McKinley felt obliged to act when the American battleship Maine blew up in Havana harbor, and interventionists blamed it on the Spanish. The result was the Spanish-American War, which led to Cuba's independence and Spain's surrender of the Philippines, Puerto Rico, and Guam to the United States. Despite his own doubts about this turn of events, McKinley made the traditionally isolationist United States more visible in international politics. One of several portraits derived from 1897-98 sittings at the White House, August Benziger's likeness testified to McKinley's blandly funereal appeaance. But housed in that uninteresting exterior was an unusual supply of warmth and charm that, as one observer put it, made McKingley "a marvelous manager of men." August Benziger, 1897
62. SIPGPR_090328_242.JPG: William McKinley, 1843-1901 (detail)
63. SIPGPR_090328_260.JPG: Warren G. Harding, 1865-1923 The first two decades of the twentieth century had been marked by American involvement in a world war and a host of progressive reforms in the country's economic and social institutions. By 1920, voters wanted a rest from all this change and ferment and were ready for a brand of White House leadership that did not threaten the status quo. In Warren G. Harding, that year's Republic presidential candidate, they found what they wanted. A convivial one-time newspaper editor, Harding made "normalcy" the keynote of his campaign. Although the meaning of the newly coined term was uncertain, it at least promised no unsettling changes. Harding's administration was marked by scandals. A trusting individual, he appointed cronies to his administration who proved all too ready to use their offices for private gain. Harding, however, escaped having to face the corrupt behavior of his appointees. Just as stories of their wrongdoing were coming to light, he collapsed and died. Margaret Lindsay Williams, 1923
64. SIPGPR_090328_265.JPG: Warren G. Harding, 1865-1923 (detail)
65. SIPGPR_090328_271.JPG: Warren G. Harding, 1865-1923 (detail)
66. SIPGPR_090328_280.JPG: William Howard Taft, 1857-1930 William Howard Taft would have much preferred it if his White House predecessor, Theodore Roosevelt, had appointed him to the Supreme Court. But Roosevelt had other plans for this man who had been one of his most trusted advisers. In November 1908, the good-natured Taft found himself elected to the presidency as Roosevelt's hand-picked successor. In many respects, Taft's administration continued Roosevelt's progressive reforms that sought to monitor the nation's economic life. But many of Taft's old allies questioned the sincerity of his commitment and ultimately regarded him as a betrayer of the Roosevelt's legacy. As a result, in Taft's bid for reelection for 1912, he faced a challenge not only from Democratic hopeful Woodrow Wilson but also from the third-party presidential candidacy of the very man who had put him in the White House, Theodore Roosevelt, in the three-way contest, Taft came in a distant third. William Valentine Schevill, c 1910
67. SIPGPR_090328_287.JPG: William Howard Taft, 1857-1930 (detail)
68. SIPGPR_090328_303.JPG: Woodrow Wilson, 1856-1924 (Jo Davidson sculpture): Jo Davidson was a gifted sculptor and a charming raconteur. But when President Woodrow Wilson allowed Davidson a series of sittings in June 1916, the artist, declaring "it takes two to make a bust," had to prompt the president's interest in the portrait by having Wilson sit on the back of an armchair, feet on the seat, to force him to chat with the artist rather than read. One reviewer noted that this bust "is a perfect likeness. Davidson has got all the firmness of the face, without any of that sourness by which some artists unconsciously and mistakenly make people think they would not care to know President Wilson personally." Jo Davidson, 1919
69. SIPGPR_090328_310.JPG: Calvin Coolidge, 1872-1933: Americans expect their presidents to be active, which explains why Calvin Coolidge has been labeled by historians as the "quiet president" and an "American enigma." Coolidge was propelled to national prominence, and the vice presidency, by his decision, while governor of Massachusetts, to fire striking officers in Boston's police strike of 1919, proclaiming, "there is no right to strike against the public safety by anybody, anywhere, any time." Assuming the presidency after Warren Harding's death in 1923, Coolidge determined not to do anything to upset American prosperity. Upon election to the presidency, Coolidge, in his 1925 inaugural address -- the first on radio -- expressed his belief that "the people of America [should] ... work less for the government and more for themselves.... That is the chief meaning of freedom." When Coolidge left office, political commentator Walter Lippmann wrote, "Surely no one will write of those years... that an aggressive president altered the destiny of the Republic. Yet... no one will write... that the Republic wished its destiny to be altered." Joseph E. Burgess, 1956
70. SIPGPR_090328_325.JPG: Woodrow Wilson, 1856-1924 (John Johansen portrait): Elected to the White House after winning wide acclaim as the reforming governor of New Jersey, Woodrow Wilson left an impressive legacy of change that sought to curb abusive business practices and improve conditions for workers. But Wilson was not as successful in winning approval for his international idealism during World War I. Determined to make this conflict "the war to end all wars," he sought at its end to create a world order that put peace ahead of national self-interest. America's European allies, however, undermined these hopes, insisting on a postwar peace settlement that contained the seeds of another war. A far worse disappointment for Wilson himself was hi failure to persuade his own country to join the League of Nations, an organization he had conceived as the best hope for avoiding future wars. Having suffered a stroke while campaigning for American entry into the league, he left office in 1921, broken in both health and spirit. John Christen Johansen, c 1919
71. SIPGPR_090328_333.JPG: Woodrow Wilson, 1856-1924 (John Johansen portrait) (detail)
72. SIPGPR_090328_344.JPG: Herbert Hoover, 1874-1964: Herbert Hoover seemed to be the ultimate problem-solver. As a mining engineer, he had turned marginal operations into thriving enterprises. During World War I, his administration of European food relief was nothing short of brilliant. As secretary of commerce in the 1920s, he transformed a once sleepy department into a purposeful information clearinghouse. But as the Great Depression took hold during the second year of his presidency, Hoover was hard pressed for a solution. Believing in the power of private initiative, he hesitated to involve the federal government in reviving business. When lengthening bread lines and escalating joblessness finally convinced him of the necessity of such steps, the measured proved inadequate. As a result, Hoover was defeated by a crushing margin in his 1932 re-election bid. This portrait was intended for Time magazine's cover. But Hoover delayed his sittings, and by the time it was finished, the magazine was no longer interested. Hoover is thus the only president in Time's history never to appear on a cover while in office. Douglas Chandor, 1931
73. SIPGPR_090328_355.JPG: Herbert Hoover, 1874-1964 (detail). Notice how the old frame used to be set up.
74. SIPGPR_090328_360.JPG: Herbert Hoover, 1874-1964 (detail)
75. SIPGPR_090328_366.JPG: Herbert Hoover, 1874-1964 (detail)
76. SIPGPR_090328_378.JPG: Rutherford B. Hayes, 1822-1893 (Warner bust): Rutherford B. Hayes modeled during his presidential campaign: In the summer of 1876, sculptor Olin Warner tried to interest the two major political parties in commissioning busts of their presidential candidates to be replicated for campaigning. The Republican camp, which was having a hard time drumming up interest in the rather colorless Rutherford B. Hayes, took advantage of the proposal. At least one Hayes supporter pinned great hopes on the resulting likeness's ability to persuade a so-far doubting public that Hayes was "a man of power." The venture for replicating the bust on a large scale, however, never went very far, and only a few copies were ever made. Olin Levi Warner, 1876
77. SIPGPR_090328_406.JPG: Franklin D. Roosevelt, 1882-1945 (Douglas Chandor portrait): When Franklin Roosevelt began serving in New York's state legislature in 1911, some observers declared him ill-suited to the rough realities of politics. But Roosevelt thrived on those realities; some two decades later, he was advancing from the New York governorship to the presidency. Taking office against the bleak backdrop of the Great Depression, Roosevelt responded quickly to this economic disaster with a host of regulatory and welfare measures that redefined the government's role in American life. Among conservatives, the new federal involvement in matters traditionally left to the private sector was a betrayal of America's ideals. But in other quarters, Roosevelt's activism inspired an unwavering popularity that led to his election to an unprecedented four terms. When Roosevelt sat for this portrait in 1945, his presidential concerns had long since shifted to guiding the nation through World War II. This likeness is a study for a larger painting -- a sketch of which appears at the lower left -- commemorating Roosevelt's meeting with wartime Allied leaders Winston Churchill and Joseph Stalin at Yalta. Douglas Chandor, 1945
78. SIPGPR_090328_415.JPG: Franklin D. Roosevelt, 1882-1945 (Douglas Chandor portrait) (detail)
79. SIPGPR_090328_420.JPG: Franklin D. Roosevelt, 1882-1945 (Douglas Chandor portrait) (detail)
80. SIPGPR_090328_425.JPG: Franklin D. Roosevelt, 1882-1945 (Douglas Chandor portrait) (detail)
81. SIPGPR_090328_431.JPG: Franklin D. Roosevelt, 1882-1945 (Douglas Chandor portrait) (detail)
82. SIPGPR_090328_437.JPG: Franklin D. Roosevelt, 1882-1945 (Douglas Chandor portrait) (detail)
83. SIPGPR_090328_443.JPG: Franklin D. Roosevelt, 1882-1945 (Douglas Chandor portrait) (detail)
84. SIPGPR_090328_450.JPG: Franklin D. Roosevelt, 1882-1945 (Douglas Chandor portrait) (detail)
85. SIPGPR_090328_455.JPG: Franklin D. Roosevelt, 1882-1945 (Douglas Chandor portrait) (detail)
86. SIPGPR_090328_469.JPG: Franklin D. Roosevelt, 1882-1945 (Ben Shahn poster): During the 1930s and 1940s, Ben Shahn's murals and portraits on behalf of liberal and progressive causes earned him national recognition. Shahn worked for President Franklin Roosevelt's Farm Security Administration in the 1930s, convinced that New Deal reforms were necessary to get the country out of the Great Depression. He also favored the president's strong support of organized labor and the passage of the landmark National Labor Relations Act in 1935. In 1944, Shahn worked for the Political Action Committee of the Congress of Industrial Organizations, creating posters that supported Roosevelt's strongly contested campaign for a fourth term. The CIO PAC was one of FDR's most powerful and wealthy supporters in this election. Shahn's poster presents a warm and sympathetic image of FDR, a father-like figure looming above his supporters; laborers wearing AFL and CIO buttons; soldiers; African Americans; and a child representing the future. Ben Shahn, 1944
87. SIPGPR_090328_484.JPG: Franklin Roosevelt and the medium of radio: Franklin Roosevelt's election to the presidency in 1932 coincided with radio's own coming-of-age. From its tentative commercial beginnings in the mid-1920s, radio had emerged as a central part of American life. FDR's personality was made from broadcasting, and his presidential "fireside chats" communicated warmth, confidence, humor, and purpose to Depression hearths.
88. SIPGPR_090328_490.JPG: Republican Encore -- Ronald Reagan and George Bush: This cover photograph of President Ronald Reagan and Vice President George Bush for the August 27, 1984, issue of Time magazine illustrated the story of the Republican Party's national convention, where the president and vice president were nominated for a second term. The title, Republican Encore--Coronation in Dallas, reflected a new Time poll indicating a "buoyant national mood giving the President a comfortable early lead." Because of an improving economy and stronger posture in the Cold War, voters judged Reagan better able that the Democratic nominee, Walter Mondale, to lower inflation, reduce unemployment, and deal with the Soviet Union. Although the Democratic Party made history by becoming the first major party to nominate a woman -- Geraldine Ferraro -- for vice president, the Time poll had voters preferring George Bush. Dirck Halstead, 1984
89. SIPGPR_090328_519.JPG: George H.W. Bush (Pat Oliphant): George HW Bush as a horseshoe player
90. SIPGPR_090328_541.JPG: Ronald Reagan, 1911-2004 (Henry Casselli Jr. portrait): When ex-California governor Ronald Reagan began his presidency in 1981, his warmth and skill in handling the media had already planted the seeds of his reputation as the "great communicator." More significant, however, was how those traits were made to work on behalf of his conservative agenda. By the end of his second term, despite widespread concern over budget deficits and several administration scandals, Reagan's presidency had wrought many significant changes. Under his leadership, the nation had undergone major tax reforms, witnessed a significant easing of relations with the Community world, and experienced a sharp upturn in prosperity. Reagan left office enjoying a popularity that only a few of his outgoing predecessors had ever experienced. This portrait is based on some thirty studies that artist Henry Casselli made of Reagan over four days at the White House in late 1988. Commissioned with the National Portrait Gallery in mind, the finished portrait arrived at the White House and following January for presidential inspection. When Reagan saw it, he exclaimed, "Yep! That's the old buckaroo." Henry C. Casselli Jr., 1989
91. SIPGPR_090328_543.JPG: Ronald Reagan, 1911-2004 (Henry Casselli Jr. portrait) (detail)
92. SIPGPR_090328_558.JPG: George H.W. Bush, 1924- (detail).
93. SIPGPR_090328_567.JPG: George H.W. Bush, 1924- (detail).
94. SIPGPR_090328_603.JPG: William Jefferson Clinton, 1946- (detail)
95. SIPGPR_090328_609.JPG: Jimmy Carter, 1924- (Templeton portrait): In the early stages of the 1976 presidential campaign, the experts hardly gave a second thought to Jimmy Carter's chances of winning the Democratic nomination, much less the White House. But the former Georgia governor's "can-do," Washington outsider's image, along with his traditional populism, had great voter appeal, and in the final poll he emerged triumphant. Unfortunately, Carter did not prove as popular in the presidency as he had on the stump, being blamed for problems such as runaway inflation. Nevertheless, his administration had some unalloyed successes, including a landmark peace agreement between Egypt and Israel, which would probably never have been reached without Carter's own dogged determination to make it happen. Artist Robert Templeton made the first sketches for this portrait at the White House in 1978. In the picture, Carter stands in the oval Office, which is furnished as it had been during his administration. The donkey statuette on his desk was a gift from the Democratic National Committee. Robert Templeton, 1980
96. SIPGPR_090328_615.JPG: Jimmy Carter, 1924- (Templeton portrait) (detail)
97. SIPGPR_090328_621.JPG: Jimmy Carter, 1924- (Templeton portrait) (detail)
98. SIPGPR_090328_627.JPG: Jimmy Carter, 1924- (Templeton portrait) (detail)
99. SIPGPR_090328_639.JPG: Jimmy Carter, 1924- (Abrams portrait): Elected in 1976, Jimmy Carter offered a new face to the White House with his "can-do" attitude and conservative population. He sat for his White House portrait in 1982 in Plains, Georgia, after he left office. This is the preliminary life study. Carter liked Herbert Abram's treatment of him immensely. The painter apparently agreed, saying later that the White House portrait just "fell off the brush. It just flowed -- I knew from the beginning it was going to be one of my best." Herbert E. Abrams, 1982
100. SIPGPR_090328_677.JPG: The sculpture of editorial cartoonist Pat Oliphant: Since the late nineteenth century, the editorial cartoon has played a provocative role in presidential politics, countering partisan advertising with irreverence. Austalian-born Pulitzer Prize winner Pat Oliphant (born 1935) hones a distinctive, repeatable caricature of each incoming president. When each fails to live up to expectations, those exaggerated figures begin to age, sag, shrink, weaken, or bloat. Oliphant has summarized his cartoon depictions of each president since Lyndon Johnson in a series of bronze sculptures. His images of Richard Nixon as a haunting and malevolent Napoleon, Gerald Ford as Band-Aided hollow mask, Jimmy Carter as an insignificant miniature, and George HW Bush as a wizened horseshoe player remind us of the powerful impact of satiric portraiture.
101. SIPGPR_090328_712.JPG: Richard M. Nixon, 1913-1994 Richard Nixon owed his election as Dwight Eisenhower's vice president to his early reputation as an anti-Communist. By the time he became president in 1969, however, his thinking had shifted considerably. As a result, under his leadership, the confrontational strategies that had long dominated this country's response to Communist gave way to a historic detente, marked by American recognition of Communist China and better relations with the Soviet Union. These achievements, however, were eventually overshadowed by disclosure of the Watergate scandals -- a web of illegal activity involving scores of Nixon's advisers. Although never implicated in the original crimes, Nixon did become party to attempts to cover them up. Following irrefutable discloser of that fact, he became the only president ever to resign from office. Artist Norman Rockwell admitted that he had intentionally flattered Nixon in this portrait. Nixon's appearance was troublesomely elusive, Rockwell noted, and if he was going to err in his portrayal, he wanted it to be in a direction that would please the subject. Norman Rockwell, 1968
102. SIPGPR_090328_716.JPG: Harry S. Truman, 1884-1972 When Franklin Roosevelt died in 1945, his successor, Vice President Harry Truman, felt as if the weight of the world had fallen on him. Feeling woefully unprepared, he now had the responsibility for guiding the country through the final phases of World War II and the often-jolting adjustments to peace. Elected to the presidency in his own right in 1948, Truman had his greatest impact in foreign policy. His most notable achievements including defeating Communist takeovers in Greece and Turkey and repelling the USSR's attempt to push the West out of Berlin. Truman also presided over implementation of the Marshall Plan to rebuild Western Europe's war-torn economies -- a strategy that may be the greatest triumph in the annals of American diplomacy. The Vienna-born Greta Kempton was Harry Truman's favorite portraitist. Shortly after she finished what would become his official White House likeness in 1947, she began this portrait. The picture was finally completed in 1970, when former members of Truman's administration presented it to the National Portrait Gallery. Greta Kempton, begun in 1948, completed in 1970
103. SIPGPR_090328_728.JPG: Harry S. Truman, 1884-1972 (detail).
104. SIPGPR_090328_732.JPG: Harry S. Truman, 1884-1972 (detail).
105. SIPGPR_090328_738.JPG: Dwight D. Eisenhower, 1890-1969 As the general who directed the Allied victory in Europe during World War II, Dwight Eisenhower enjoyed a popularity that made him a natural choice as a presidential candidate. In 1952, he finally succumbed to Republicans' urgings to seek the nation's highest office. After Eisenhower left the White House in 1961, many experts thought he had been slow to use his influence in gaining compliance with court-ordered racial integration of public schools, and claimed that his confrontational strategies in blocking the spread of Communism sometimes added unnecessary to Cold War tensions. Such criticism became more muted, however, in the face of a growing appreciation for his administration's sound fiscal policies and its efforts to promote peaceful coexistence with the Soviet Union while maintaining a strong posture against its aggressive promotion of Communism in the world. While posing for this portrait by Thomas Stephens, Eisenhower expressed an interest in trying his own hand at painting. At a rest break, Stephens handed him a brush. Within a month, painting had become one of Eisenhower's hobbies. Thomas E. Stephens, 1947
106. SIPGPR_090328_748.JPG: Dwight D. Eisenhower, 1890-1969 (Thomas E. Stephens portrait) (detail)
107. SIPGPR_090328_754.JPG: Dwight D. Eisenhower, 1890-1969 (detail)
108. SIPGPR_090328_766.JPG: John F. Kennedy, 1917-1963 (detail).
109. SIPGPR_090328_777.JPG: Gerald R. Ford, 1913-2006 Gerald Ford was perfectly happy being a Michigan congressman and House minority leader. But Ford's congressional career abruptly ended in 1973, when President Richard Nixon appointed him to succeed Vice President Spiro Agnew, who had resigned amid revelations of misconduct. Within a year, Ford's political fortunes took yet another sharp turn. On August 9, 1974, with Nixon himself forced to resign from office, Ford became the only unelected vice president to succeed to the White House. Ford's pardoning of Nixon shortly thereafter drew angry criticism. Nevertheless, his conciliatory leadership succeeded in restoring a much-eroded confidence in the presidency. Summarizing the orderly way he came to office despite the unsettling events that put him there, he said at his swearing-in, "Our Constitution works." In large measure, it was Ford who ensured that it did. Everett Raymond Kinstler's likeness was painted at Ford's request specifically for the National Portrait Gallery. Kinstler based the portrait on sketches that he had made in the late 1970s, when he was working on Ford's official White House likeness. Everett Raymond Kinstler, 1987
110. SIPGPR_090328_784.JPG: Gerald R. Ford, 1913-2006 (detail).
111. SIPGPR_090328_794.JPG: Claudia Taylor (Lady Bird) Johnson, 1912-2007: Claudia Taylor's African America nursemaid declared that she was as pretty as a "ladybird," a nickname that stuck with her through her entire life. She graduated from high school at age fifteen and earned two degrees at the University of Texas; a BA in 1933 and a degree in journalism in 1934. That same year, Lady Bird met Lyndon Johnson, a young congressional secretary. After a brief courtship -- best characterized by her statement that "sometimes Lyndon simply takes your breath away" -- they were married. Devoted to her husband's political career, she ran his office during World War II and in 1955, after he suffered a heart attack. The couple had two daughters. As first lady, Johnson was active in Head Start, and especially in her capital beautification project and in her promotion of the Highway Beautification Act. Boris Artzybasheff, 1964 Time cover, January 20, 1961
112. SIPGPR_090328_808.JPG: Lyndon B. Johnson, 1908-1973 Few individuals have managed to harness the forces of American politics better than Lyndon Johnson. Thus, when he surrendered his position as Senate majority leader to become John Kennedy's vice president in 1961, it was inevitable that, he should bridle at the political limbo of his new office. But when Johnson became president upon Kennedy's assassination, his ability to get what he wanted was soon yielding a string of landmark legislation that included a far-reaching civil rights act and a federally funded "war on poverty." Unfortunately, escalation of the war against Communist aggression in Vietnam overshadowed those successes. BY the end of his presidency, Johnson had gone from being one of the most successful presidents in history to one of the most maligned. This portrait by Peter Hurd was meant to be Johnson's official White House likeness. But that plan was quickly scrapped after Johnson declared it "the ugliest thing I ever saw." Soon the pun was making the rounds in Washington that "artists should be seen around the White House -- but not Hurd." Peter Hurd, 1967
113. SIPGPR_090328_820.JPG: Lyndon B. Johnson, 1908-1973 (detail).
114. SIPGPR_090328_822.JPG: Lyndon B. Johnson, 1908-1973 (detail).
115. SIPGPR_090328_826.JPG: Lyndon B. Johnson, 1908-1973 (detail).
116. SIPGPR_090328_839.JPG: Lyndon B. Johnson, 1908-1973 (detail).
117. SIPGPR_090329_013.JPG: John Quincy Adams, 1767-1848 Son of the second president, to whom he owed his formidable intellectual training, John Quincy Adams was fated, like his father, to serve an undistinguished term as president (1824-28). Despite his long experience as an ambassador, senator, and secretary of state, Adams was unable to master the fractious sectional politics of the 1820s. The rigid and humorless New Englander was also out of step with the new popular political style pioneered by Andrew Jackson. Yet these so-called flaws contributed to Adams's success in his life's second act. Returning to Congress in 1831, Adams became known as "Old Man Eloquent" for his passionate opposition to slavery. In defending the African prisoners on the slave ship Amistad, he made the case in Congress that slavery was not just immoral but unconstitutional. William Hudson, Jr., 1844
118. SIPGPR_090329_023.JPG: Zachary Taylor, 1784-1850 A career army officer, by the 1840s Zachary Taylor -- "Old Rough and Ready" -- was the commanding general of the southwestern territories. With the outbreak of the Mexican American War in 1846, Taylor led a small army that achieved victories against overwhelming odds at Palo Alto and Monterrey. With victory came public acclaim, which crested when Taylor won the Battle of Buena Vista in February 1847. The Whig Party capitalized by nominating Taylor for the presidency, and he was elected in 1848. Ironically, Taylor, who had become a wealthy Louisiana planter, had opposed the annexation of Texas, knowing that expansion would reopen the slavery question. Taylor died during debate over the Compromise of 1850, the attempt to integrate the Mexican territories into the Union without disturbing the status quo on the slavery issue. James Walker, not dated
119. SIPGPR_090329_045.JPG: George Washington, 1732-1799 (Apotheosis): After the American Revolution, renewed demand for imported tablewares from England kept the Herculaneum Pottery of Liverpool busy producing transfer-printed creamware decorated for an American market. Appearing on this pitcher, along with a distinctly un-American agricultural scene, are two especially popular subjects: an eagle and the apotheosis of Washington. John James Barralet, who designed the apotheosis print, depicted Washington rising from his tomb, assisted by Father Time and Immortality, and mourned by an eagle, an allegorical "America, and a sorrowful Indian. Faith, Hope, and Charity appear in the background. Barralet's ambitious engraving spawned many copies, including Chinese reverse paintings on glass. Herculaneum Pottery, c 1800-5
120. SIPGPR_090329_054.JPG: George Washington, 1732-1799 (Apotheosis) (detail)
121. SIPGPR_090329_065.JPG: George Washington, 1732-1799 (Apotheosis) (detail)
122. SIPGPR_090329_074.JPG: George Washington, 1732-1799 (Apotheosis) (reverse)
123. SIPGPR_090329_088.JPG: Andrew Jackson, 1767-1845 (Silver Jubilee portrait): Andrew Jackson won national acclaim for his successful military campaigns against the Creek Indians in the Mississippi Territory in 1814 and against the Seminole nation in Florida in 1818. Yet Jackson's spectacular victory over the British in New Orleans on January 8, 1815, was the event for which he would be most feted in his lifetime. In 1840, the city hosted a Silver Jubilee for Jackson and his victory. This portrait of the aging hero, white-haired and in poor health, depicts him at that time. James Tooley, Jr., watercolor on ivory, 1840
124. SIPGPR_090329_092.JPG: Abraham Lincoln, 1809-1865 (Healy portrait): Today, Abraham Lincoln is universally regarded as one of our greatest presidents. But from the start of his administration, Lincoln, guiding the nation in a time of civil war, was beset with criticism from all sides. Some charged him with moral cowardice for initially insisting that an end to slavery was not one of his wartime goals; others accused him of overstepping his constitutional powers; still others blamed him for military reverses in the field. But as Union forces moved toward victory, Lincoln's eloquent articulation of the nation's ideals and his eventual call for an end to slavery gradually invested him with grandeur. Following his assassination in 1865, that grandeur became virtually unassailable. The original version of this portrait was a template for artist George PA Healy's large painting The Peacemakers, depicting Lincoln in consultation with three of his main military advisers at the end of the Civil War. But Healy recognized that this made a fine portrait in its own right and eventually made three replicas, including this one. George P.A. Healy, 1887
125. SIPGPR_090329_103.JPG: Abraham Lincoln, 1809-1865 (Healy portrait) (detail)
126. SIPGPR_090329_107.JPG: Abraham Lincoln, 1809-1865 (Healy portrait) (detail)
127. SIPGPR_090329_122.JPG: Ulysses S. Grant, 1822-1885 (Thomas LeClear portrait): In the spring of 1861, Ulysses Grant hardly seemed destined for greatness. Having resigned his army captain's commission in 1854, this West Point graduate was eking out a living as a clerk. But the Civil War marked a dramatic shift in his fortunes. Re-enlisting in the army, he was soon made a general. By war's end, he was commander of all Union land forces and, as the chief architect of the South's defeat, had become one of the country's heroes. Grant's popularity led to his election to the presidency in 1868, but his weak control over his administration spawned an outbreak of federal corruption that made "Grantism" synonymous with public graft. Nevertheless, his charisma persisted through his two terms. Grant posed for this portrait shortly after he returned from a triumphant world tour following his presidency. The largely self-taught artist Thomas LeClear painted two versions. This one was originally owned by Grant himself, while the second one became part of the White House collection. Thomas LeClear, c 1880
128. SIPGPR_090329_142.JPG: Grover Cleveland, 1837-1908: After his defeat in 1888, Grover Cleveland's presidential career was by no means over. Four years later, the electorate returned him to the White House. But Cleveland might have been better off remaining in retirement. By early 1893, the country was entering a deep economic depression, and whatever he did to meet various phases of that crisis seemed only to alienate his supporters. During the final year of his presidency, Cleveland suffered the ultimate humiliation of being an outcast within the party he had once led. The painter of this portrait, Swedish artist Anders Zorn, drew his loose brushwork and preference for natural lighting from French impressionism. Cleveland was quite pleased with Zorn's likeness, declaring to a correspondent, "As for my ugly mug, I think the artist has 'struck it off' in great shape." Anders Zorn, 1899
129. SIPGPR_090329_154.JPG: Grover Cleveland, 1837-1908 (detail)
130. SIPGPR_090329_189.JPG: John F. Kennedy, 1917-1963: When an assassin's bullet cut short John F. Kennedy's presidency in November 1963, the country experienced a collective sense of loss that it had not known since the death of Abraham Lincoln. But the grief was not so much inspired by Kennedy's presidential accomplishments as it was an expression of what he had come to represent: his eloquence, and idealism had made him, in the eyes of many, the embodiment of this country's finest aspirations. Still, his administration could claim triumphs in foreign policy, including a successful face-off with the Soviets over the presence of missiles in Cuba. Its support for the civil rights movement, moreover, would soon give birth to landmark legislation promoting racial equality. Elaine de Kooning arranged for sittings with Kennedy in late 1962, intending to complete a single portrait. Fascinated with the changeability of Kennedy's features, she instead painted an entire series of likenesses, including this one. In its loose, almost chaotic brushwork, the portrait illustrated de Kooning's close identification with the abstract expressionist movement of the 1950s. Elaine de Kooning, 1963 Adopt-a-Portrait: This portrait was adopted by Walter F. and Joan A. Mondale.
131. SIPGPR_090329_199.JPG: Nixon on Horseback Since the late nineteenth century, the editorial cartoon has played a provocative role in presidential politics, countering partisan advertising with irreverence. Australian-born Pulitzer-Prize winner Pat Oliphant (born 1935) hones a distinctive, repeatable caricature of each incoming president. When each fails to live up to expectations, those exaggerated figures begin to age, sag, shrink, weaken, or bloat. Oliphant has summarized his cartoon depictions of each president since Lyndon Johnson in a series of bronze sculptures. His images of Richard Nixon as a haunting and malevolent Napoleon, Gerald Ford as Band-Aided hollow mask, Jimmy Carter as an insignificant miniature, and George H. W. Bush as a wizened horseshoe player, remind us of the powerful impact of satiric portraiture. Pat Oliphant, 1985
132. SIPGPR_090329_213.JPG: Jimmy Carter Since the late nineteenth century, the editorial cartoon has played a provocative role in presidential politics, countering partisan advertising with irreverence. Australian-born Pulitzer-Prize winner Pat Oliphant (born 1935) hones a distinctive, repeatable caricature of each incoming president. When each fails to live up to expectations, those exaggerated figures begin to age, sag, shrink, weaken, or bloat. Oliphant has summarized his cartoon depictions of each president since Lyndon Johnson in a series of bronze sculptures. His images of Richard Nixon as a haunting and malevolent Napoleon, Gerald Ford as Band-Aided hollow mask, Jimmy Carter as an insignificant miniature, and George H. W. Bush as a wizened horseshoe player, remind us of the powerful impact of satiric portraiture. Pat Oliphant, 1989
133. SIPGPR_090404_05.JPG: Thomas Jefferson, 1743-1826: (Mather Brown) As the new American republic emerged from its war with the mother country, Thomas Jefferson and John Adams, collaborators in the formulation of the Declaration of Independence (although Jefferson wrote the final document), were brought together as trade negotiators in France, where their mutual respect turned into friendship. In the spring of 1786-when Jefferson was the American minister to France and Adams the American minister to England-Jefferson visited Adams, who suggested that he pose for the young Boston-born artist Mather Brown. An exchange of portraits between the two colleagues ensued. This painting, the earliest known likeness of Jefferson, remained in Adams's family until given to the nation in 1999. The background contains the classical figure of Freedom holding a staff topped by a cap, which had its origins in the conical cloth cap adopted by freed Roman slaves as the symbol of their liberty. Mather Brown, 1786
134. SIPGPR_090404_12.JPG: Thomas Jefferson
135. SIPGPR_090404_17.JPG: Thomas Jefferson
136. SIPGPR_090404_29.JPG: George Washington, 1732-1799 (Houdon portrait)
137. SIPGPR_090404_40.JPG: Washington Resigning His Commission: George Washington refused to accept the extraordinary power Congress offered to him after his victory over the British, declaring "as the sword was the last resort for the preservation of our liberties, so it ought to be the first thing laid aside, when those liberties are firmly established." He resigned his military commission and became an ordinary citizen because he believed that only monarchies needed standing armies, chiefly to keep the people subdued. Citizen militias, organized at moments of crisis and quickly disbanded, represented the true nature of a democracy. Pettrich created this work at a time when political power in the United States was being confiscated around the federal government. He may have felt that this historic moment in Washington's life would remind a new generation of the nation's founding ideals, and of the dangers of too much power given to too few. Fredinand Pettrich, c 1841
138. SIPGPR_090404_69.JPG: Ronald Reagan, 1911-2004 (Nelson Shanks portrait): This portrait, taken from life and signed by the artist on May 4, 1989, was made when Ronald Reagan had been out of office a little more than three months. Nelson Shanks's image is that of an aging man, strikingly older than the adjacent photograph from Time's 1984 cover. Second terms for presidents have been notoriously hard, and Reagan's was marred by the Iran/Contra episode. On the other hand, he achieved a considerable triumph in his arms-control negotiations with Soviet leader Mikhail Gorbachev, culminating in the treaty signed in the 1987 Washington Summit that eliminated medium-range missiles in Europe and the Soviet Union. It was also during these years that the American economy came roaring back from the "stagflation" of the 1970s. Nelson Shanks, 1989
139. SIPGPR_090404_72.JPG: William Jefferson Clinton, born 1946 A key to Bill Clinton's success as president, along with his resilience and personal affability, was his determination to govern through consensus. Major accomplishments such as welfare reform, the first budget surplus since the late 1960s, the North American Free Trade Agreement, and successful US intervention in the Balkans stemmed from this pragmatic viewpoint. Other proposals, which galvanized opposition, such as universal health care, failed. His administration was plagued, however, by charges of real-estate schemes ("Whitewater") dating back to his years as governor of Arkansas and the consequences of an affair with a White House intern. His denial under oath about this relationship led to his impeachment. He was not convicted in the Senate trial, however, and his popularity actually increased as Americans continued to admire Clinton for his political talents, quick intelligence, and determination. Nelson Shanks, 2005 On March 4, 2015, Nelson Shanks, who painted this piece (which hasn't been on display at the National Portrait Gallery since 2010), said in an interview with Philly.com that the portrait included a subtle reference to the Monica Lewinsky scandal. Regarding the shadow to the left of Clinton, "It actually literally represents a shadow from a blue dress that I had on a mannequin, that I had there while I was painting it, but not when he was there. It is also a bit of a metaphor in that it represents a shadow on the office he held, or on him." Shanks died August 28 that year. Frankly, I wasn't sorry to see him go.
140. SIPGPR_090404_78.JPG: William Jefferson Clinton, 1946- (detail)
141. SIPGPR_090405_05.JPG: Abraham Lincoln: Augustus Saint-Gaudens, 1887
142. SIPGPR_090405_34.JPG: Washington Resigning His Commission
143. SIPGPR_090410_04.JPG: Franklin D. Roosevelt, 1882-1945 Davidson sculpted Franklin D. Roosevelt at the White House. Davidson noted, "He was rolled in, seated in a wheelchair and he greeted us with a broad, cheerful smile." He wrote later that Roosevelt "won me completely with his charm, his beautiful voice and his freedom from constraint. He had unshakeable faith in man. . . . Nobody before had worried about the artist, but in Roosevelt's tremendous relief program, the artist too was included, and the influence of the WPA projects was tremendous." Davidson, a strong supporter of Roosevelt, offered casts similar to this one as a fundraiser for the Young Democrats during the 1936 election. Jo Davidson, 1934
144. SIPGPR_090419_02.JPG: Andrew Jackson, 1767-1845 Andrew Jackson of Tennessee, Indian fighter and hero of the Battle of New Orleans-the first president of truly humble background and the first from the West-ushered in a new political era. His supporters hailed him as "The People's President"; conservatives saw his election as the ascent of "King Mob." Before his two terms in office were out, Jackson vetoed more legislation than his predecessors combined, and his opponents coalesced into a new political party called the Whigs. Ferdinand Pettrich, replica of 1836 original
145. SIPGPR_090419_09.JPG: Andrew Jackson, 1767-1845
146. SIPGPR_090419_19.JPG: William Henry Harrison, 1773-1841 William Henry Harrison, who came from a family of Virginia aristocrats, made his career in the West, at first as a soldier and later as governor of the Indiana Territory, charged with keeping settlers safe from angry Indians, who had many grievances against the white interlopers. Alarmed by the growing power of the Shawnee brothers Tenskwatawa and Tecumseh, and suspicious of British influence, Harrison marched an army to Prophet's Town on the Tippecanoe River and in October 1812 won a battle that would provide the rallying cry ("Tippecanoe and Tyler, too!") for his campaign for the presidency in 1840. After the outbreak of the War of 1812, Harrison was appointed a brigadier general. At the fight along the Thames River in Canada, on October 5, 1813, he routed the British and the Indians, whose chief, Tecumseh, was killed in battle. Rembrandt Peale, c 1813
147. SIPGPR_090419_26.JPG: William Henry Harrison (detail)
148. SIPGPR_090419_34.JPG: Mrs. John Quincy Adams Charles Bird King, c 1824
149. SIPGPR_090419_46.JPG: Andrew Jackson Hiram Powers, 1835
150. SIPGPR_090419_50.JPG: Andrew Jackson Hiram Powers, 1835
151. SIPGPR_090426_053.JPG: John Quincy Adams (detail)
152. SIPGPR_090426_071.JPG: Andrew Jackson, 1767-1815 (Clark Mills sculpture): In 1815, Andrew Jackson gave America its greatest land triumph in the War of 1812 with his successful defense of New Orleans. The victory proved to be Jackson's making as a national figure: upon his 1828 election to the presidency, his countrymen had still not forgotten that it was he who had "flogged the British" at New Orleans. In 1847, sculptor Clark Mills was commissioned to make an equestrian statue of Jackson for placement opposite the White House. Two years after the work's dedication in 1853, Mills patented a much-reduced version of it, copies of which were sold to the public. Clark Mills, patented 1855
153. SIPGPR_090426_100.JPG: Andrew Johnson, 1808-1875 A one-time tailor whose wife had taught him to read, Andrew Johnson thought he had reached his political summit with his election to the Senate in 1856. But Johnson's ardent opposition to his native Tennessee's membership in the Confederacy led to his becoming Abraham Lincoln's vice president, and then successor to the presidency upon Lincoln's assassination in April 1865. Johnson shared Lincoln's determination to readmit the South to the Union with a minimum of punitive demands on the defeated region. That, however, put him at odds with a Congress out to punish the South's white leadership and ensure the rights of the region's newly freed blacks. The tactless and combative Johnson survived impeachment by one vote, but was without any real influence for the remainder of his presidency. Washington B. Cooper was a leading Tennessee portraitist, and Johnson sat for him on several occasions. Although this likeness is undated, Johnson's apparent age in the picture suggests that it was painted during his presidency. Washington B. Cooper, after 1866
154. SIPGPR_090426_105.JPG: Andrew Johnson, 1808-1875 (detail)
155. SIPGPR_090426_110.JPG: James Buchanan (detail)
156. SIPGPR_090426_118.JPG: James Buchanan, 1791-1868: James Buchanan entered the White House in 1857 hoping to quell the mounting sectional rancor over slavery. But the events of his administration often had the opposite effect. The Supreme Court's Dred Scott decision, which denied Congress's power to ban slavery in the western territories, unleashed an unprecedented wave of anger in the North. When Buchanan supported proslavery forces in the Kansas Territory, that anger rose to a fever pitch In response, the South's militance in defending slavery waxed ever stronger, and by the end of Buchanan's term, the long-feared specter of war was turning into a reality. With the outbreak of hostilities in the spring of 1861, Buchanan became the object of vilification in many quarters. Among the milder expressions of anti-Buchanan feeling was the disposition of the version of this portrait that had been painted for the White House. When artist George Healy presented his bill for the picture, Congress refused to pay it, and many years passed before the White House acquired a portrait of Buchanan. George P.A. Healy, 1859
157. SIPGPR_090426_138.JPG: Ulysses S. Grant, 1822-1885 (Thomas LeClear portrait) (detail)
158. SIPGPR_090426_198.JPG: Grover Cleveland, 1837-1908 (detail)
159. SIPGPR_090426_210.JPG: Abraham Lincoln, 1809-1865 (Willard portrait): The Penny Image of Abraham Lincoln: This familiar image of Abraham Lincoln, a version of which appears on the copper penny, is easily the most ubiquitous of all Lincoln images. William Willard based this portrait on a photograph taken by Anthony Berger at Mathew Brady's studio in Washington DC on February 9, 1864. The sitting occurred three weeks prior to Lincoln's appointment of General Ulysses S. Grant as commander of all the Union armies. The Lincoln penny was first minted in 1909, on the one-hundredth anniversary of Lincoln's birth. William Willard, 1864
160. SIPGPR_090426_213.JPG: Abraham Lincoln, 1809-1865 (Willard portrait) (detail)
161. SIPGPR_090502_01.JPG: Glenn Guthrie, Dixie Guthrie @ National Portrait Gallery
162. SIPGPR_090517_001.JPG: Thomas Jefferson, 1743-1826: (Mather Brown) As the new American republic emerged from its war with the mother country, Thomas Jefferson and John Adams, collaborators in the formulation of the Declaration of Independence (although Jefferson wrote the final document), were brought together as trade negotiators in France, where their mutual respect turned into friendship. In the spring of 1786-when Jefferson was the American minister to France and Adams the American minister to England-Jefferson visited Adams, who suggested that he pose for the young Boston-born artist Mather Brown. An exchange of portraits between the two colleagues ensued. This painting, the earliest known likeness of Jefferson, remained in Adams's family until given to the nation in 1999. The background contains the classical figure of Freedom holding a staff topped by a cap, which had its origins in the conical cloth cap adopted by freed Roman slaves as the symbol of their liberty. Mather Brown, 1786
163. SIPGPR_090517_012.JPG: Thomas Jefferson, 1743-1826: (Mather Brown) (detail)
164. SIPGPR_090517_030.JPG: The Teddy Roosevelt portrait has this sign on it: Scenes from the movie are inspired by this artifact! Night at the Museum Battle of the Smithsonian
165. SIPGPR_090517_049.JPG: William Jefferson Clinton, born 1946 A key to Bill Clinton's successes as president, along with his resilience and personal affability, was his determination to govern through consensus. Major accomplishments such as welfare reform, the first budget surplus since the late 1960s, the North American Free Trade Agreement, and successful US intervention in the Balkans stemmed from this pragmatic viewpoint. Other proposals, which galvanized opposition, such as universal health care, failed. His administration was plagued, however, by charges of real-estate schemes ("Whitewater") dating back to his years as governor of Arkansas and the consequences of an affair with a White House intern. His denial under oath about his relationship led to his impeachment. He was not convicted in the Senate trial, however, and his popularity actually increased as Americans continued to admire Clinton for his political talents, quick intelligence, and determination. Nancy Harris painted Clinton's portrait from life sittings in Chappaqua, New York, and Washington, DC, in 2006 and 2007. Nancy Fleming Harris, 2007
166. SIPGPR_090517_055.JPG: William Jefferson Clinton, born 1946 (Nancy Fleming Harris) (detail)
167. SIPGPR_090517_064.JPG: William Jefferson Clinton, born 1946 (Nancy Fleming Harris portrait) (detail) The original portrait didn't show a wedding ring. The right wing (Time magazine) said this showed he was a philanderer but only one other presidential portrait (Benjamin Harrison) had wedding rings. The new George W. Bush portrait has a wedding ring to prove he wasn't Bill Clinton. A second Bill Clinton portrait, this time with a wedding ring, was loaned to the museum.
168. SIPGPR_090517_081.JPG: President Eisenhower throws out the first pitch in the 1956 Worlds Series between the New York Yankees and the Brooklyn Dodgers: The Brooklyn Dodgers won game number one of the "Subway Series" at home in Ebbets Field. Yankees Mickey Mantle and Billy Martin and Dodgers Gil Hodges and Jackie Robinson all hit home runs. Dwight Eisenhower, one of America's most athletic presidents, was on the football and baseball teams at West Point. Stories circulated that he had played professionally, but not until 1961 did the president acknowledge that he played semipro baseball under an assumed name a year before he entered West Point, most likely aware that it would have disqualified him from playing in college. With the president are managers Casey Stengel and Walter Alston. On the president's left is baseball commissioner Ford Frick and behind him, partially visible, is Dodger owner Walter O'Malley. Osvaldo Salas, 1956
169. SIPGPR_091121_01.JPG: James A. Garfield, 1831-1881 While serving in the Ohio infantry, James A. Garfield was elected to Congress in 1862; he represented his home state for eighteen years. Nominated by the Republican Party as its presidential candidate in 1880, he was elected president and inaugurated on March 4, 1881. Garfield had served only four months in office when, on July 2, he was shot by religious fanatic Charles J. Guiteau. Mortally wounded, Garfield died in September. His assassination led to an outpouring of national mourning, which resulted in numerous full-length paintings and sculptures. This small figure appears to be a trial casting a larger statue in Washington, D.C., completed by John Quincy Adams Ward in 1887. Attributed to John Quincy Adams Ward Bronze, c. 1883-1887
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Description of Subject Matter: The nation’s only complete collection of presidential portraits outside the White House, this exhibition lies at the heart of the Portrait Gallery’s mission to tell the American story through the individuals who have shaped it. Visitors will see an enhanced and extended display of multiple images of 42 presidents of the United States, including Gilbert Stuart’s “Lansdowne” portrait of George Washington, the famous “cracked plate” photograph of Abraham Lincoln and whimsical sculptures of Presidents Lyndon Johnson, Jimmy Carter, Richard Nixon and George H. W. Bush by noted caricaturist Pat Oliphant. Presidents Washington, Andrew Jackson, Lincoln, Theodore Roosevelt and Franklin D. Roosevelt will be given expanded attention because of their significant impact on the office. Presidents from FDR to Bill Clinton are featured in a video component of the exhibit.
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2009 photos: Equipment this year: I mostly used the Fuji S100fs. I've also got a Nikon D90 and a newer Fuji -- the S200EHX -- both of which are nice but I still prefer the flexibility of the Fuji. Trips this year: Niagara Falls, NY, New York City, Civil War Trust conferences in Gettysburg, PA and Springfield, IL, and my 4th consecutive San Diego Comic-Con trip (including Los Angeles, Yosemite, Death Valley, Kings Canyon, Joshua Tree, etc). Ego strokes: I had a picture of a Lincoln-Obama cupcake sculpture published in Civil War Times and WUSA-9, the local CBS affiliate, ran a quick piece on me. A picture that I took at the annual Abraham Lincoln Symposium appeared in the National Archives' "Prologue" magazine. I became a volunteer with the Smithsonian American Art Museum. Number of photos taken this year: 417,000.
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