Читать книгу Sarah M. Peale America's First Woman Artist - Joan Ph.D. King - Страница 5

PHILADELPHIA

THE SUMMER OF 1818

Sarah hurried into the dining room after the others were seated. She would have skipped breakfast altogether today, but her father would never permit it, and she didn't want to start this day with a lecture. To James Peale, breakfast was important. Aside from food, he wanted everyone around him listening as he outlined what each would do that day. This was one time Sarah didn't need any instructions. She had prepared for this day of reckoning so long—well, her whole eighteen years of life, if you wanted to look at it that way.

A strong ray of sunlight reached into the dining room from the east window and touched the bowl of golden biscuits on the table. Sitting at her father's left, next to her mother, Sarah looked across the table to see her older sisters Anna and Margaretta smiling in her direction. "You look as pretty as a picture," Anna teased. Margaretta laughed.

Margaretta, five years older than Sarah, was beautiful. Just for today she'd like to be as pretty as Margaretta, if not so timid, and have 27 year-old Anna's talent and skill.

Her father held the bowl of warm biscuits before Sarah. "No thank you, Papa. I'm not hungry today."

"Take one," James said. "You'll need stamina and a steady hand." Sarah obeyed. She broke the biscuit and spooned honey onto one half, but already her mind had wandered to the painting studio. This was the day she was to paint her self-portrait, a tradition in the Peale family that, if successfully done, announced the change in status from student to artist. After today, if her self-portrait proved her skills, she would be a full assistant in her father's studio. Her portrait would hang there to show the world that she was competent. Her father had coached her intensively and impatiently over the past year and she was as ready as could be.

Her father's large easel sat in the space where the light was best, Anna's work table next to it, the miniature ivory she had been working on covered by a shroud of gauze. Margaretta had been painting the drapery in her father's large commissioned portrait. Sarah's table was clear.

The studio was already too warm. The neck of Sarah's crisp white blouse chafed. She ran her finger under the lace edging and wished she hadn't been so anxious to show off her skills in painting lace.

She set her palette and arranged her canvas so she could see her image in the mirror. James checked her palette and warned her about making the flesh tones too rosy. Though she tried to concentrate on what her father was saying, she was impatient and only half listening. Her task couldn't have been clearer. She had simply to paint what she saw in the mirror. However, her father continued to coach her, calling her Sally again as though she were still a child. "Remember what I told you about the line of the mouth—don't let it turn down at the edges. Get the shadows of the mouth right and a likeness will jump out of the canvas at you." He smiled.

"Yes, Papa; I'll remember."

"Now then, Sally, we'll leave you alone with your work. Your mother and sisters and I will drive out to Belfield for the day. I'll bring your Uncle Charles back with me, and together we will judge your painting and decide if you are ready." He eyed her with misgiving.

"Yes, Papa; I'll do my best. And oh yes," she brightened. "I hope cousin Betsy will come back with you. Then she can go to the wed ding with us tomorrow. Tell her the party will be lovely."

"Another damnable party," he said. "You shouldn't be thinking of parties at a time like this; you should concentrate on nothing but the work." James turned his stern blue eyes toward her, the lines in his forehead deepening. He shook his gray head and waved his finger."You'd best pay attention. No thoughts of wedding parties, no sitting out in the shade, no distractions. You'd better work as hard as you can for as long as you can."

"Yes, Papa," Sarah nodded and picked up a piece of charcoal.

"Don't worry," Margaretta whispered. "You'll do fine."

"Keep the shadows from going muddy," Anna added.

Sarah drew the head and shoulders, and blocked in the hair, but was not satisfied. She rubbed the drawing out. Changing her position, she posed before the mirror a dozen ways, settling on a pose with her head tilted toward the right, one side of the face in shadow. Squinting and looking at herself critically, she still wasn't satisfied. Loosening her thick brown hair and letting a few curls spill over her forehead helped. Her blouse was too warm. She took it off and threw a red drape low around her shoulders, giving the line of the neck a sweeping graceful curve. Satisfied at last, she sketched the composition quickly; then brushed in the dark areas.

Excitement grew with each brushstroke. She was eager to prove herself, to show the world, or whoever cared to inquire, that she was a Peale worthy of the name her uncle Charles had made famous—the name her father and cousins Rembrandt and Raphaelle had upheld in the art world of Philadelphia for so many years. She would make her own Peale portrait a wonderful likeness. Papa would be proud.

Her excitement lasted the entire morning and instead of exhausting itself, became even more intense when she came back to it after stopping for a lunch of bread, cheese and lemonade. The portrait didn't look like an eighteen-year-old girl who had seldom been away from Philadelphia. This girl was clever, polished and serene. This was the Sarah only she knew. And even she hadn't seen all the possibilities.

The day grew hotter. Perspiration dampened her face and slid down her neck. She banished thoughts of sitting in the cool grass in the shade. As she carefully painted the shadows around the mouth, her likeness fixed itself onto the canvas—just as her father had said. She paused, tremendously pleased, and with greater confidence high lighted the line of the nose, deepened the shadow in the right eye, put in the speck of light caught by the iris, the shadow under the chin. The hours passed.

She still stood at the easel when she heard carriage wheels and horses' hoofs stopping in front of the house. She put down her palette and peeked out the window just as Uncle Charles stepped out of the carriage. He looked almost fragile in those few seconds before he straightened himself up. At 77, Charles was small and wiry, but not fragile—far from it. His hat covered his balding head from the heat but left the unruly gray fringe to fly freely. James stepped down and stood next to his brother. James was eight years younger than Charles and an inch shorter with a thicker build. His face, though as fine-featured as Charles's, had a stern quality especially when his frown brought out the creases between his eyebrows. Sarah watched her father and uncle come up the walk together, her mother and sisters following. James shuffled forward using a cane while Charles took long purposeful strides. Sarah took a deep breath; they would soon pass judgment on her portrait. She wiped her hands on her apron, glanced at her canvas and waited.

Her father stood before her easel. His mouth opened slightly. He frowned and his expression darkened. "Damn," he muttered to himself. "What's the meaning of this? Why didn't you do it the way I told you?"

Sarah stepped back to look again at the canvas. The face looked serene and wonderful to her. "Whatever's wrong with it?"

"Everything," her father complained, his face reddening. "You're supposed to be painting Sarah Peale, a respectable young woman of good family. But this is a ... a fresh little flirt."

His recrimination stung. She trembled with unreasonable anger, but raised her chin in defiance. "It does not look like a fresh little flirt. It looks like me."

Her mother, until now quietly standing behind them, stepped forward. "Never mind your father. Maybe he hasn't noticed you're not still a child. I think it's well done, dear."

Charles came closer and stood before her portrait, one hand on his hip, the other stroking his chin thoughtfully. "Look again, James," he said. "It's wonderfully like her. Sally may have a bit more imagination than you need in the painting room, but many sitters will appreciate her abilities."

James glanced again at the portrait, his expression still troubled. "You're just not serious enough, Sarah. Painting is a difficult business—not a Sunday picnic."

Disappointment and fatigue overcame Sarah. She cleaned her brushes and went to sit beside the window in the kitchen. Closing her eyes, she tried to wash away her father's harsh criticism. She had thought her work would please him. She didn't dream he would be so disappointed at her best effort. And it was her best.

The loud excited voices of her father and uncle talking in the painting room roused her from her brooding. She stood, listened and moved closer, leaning against the door jamb to hear the talk.

"I have great plans," Charles said.

"No doubt," James said. "When haven't you had great plans?"

"For your dear Anna this trip to Washington City could be like my painting trip back in seventy-two," Charles said. "Do you remember? After I finished Washington's portrait, he sent me away from Mount Vernon, with letters of introduction to everyone of note in Williamsburg. There I had as many commissions as I could take. Washington City could be Anna's Mt. Vernon. Now she's ready to show what she can do where it counts. With any luck her miniature painting business will be launched."

James nodded and smiled while Charles went on listing his plans. "I'll set up a studio and paint portraits for the Museum's collection—President Monroe, of course—also Calhoun and Clay and whoever luck sends us. Anna can do her miniature ivories while I paint the full-sized portraits. We'll be gone at least six weeks. I have other business to take care of besides the portrait painting."

James's voice sounded amused but excited. "You're going to try to win support for the Museum, I know. But, what other business?" James asked.

"Your war pension: You need it. I'll see what I can do. I will see about patenting my windmill improvement and..."

"With all of that," James said, shaking his head, "you'll be there for many months."

Charles laughed. "You know me better than that. I'll keep things moving along."

"You are an enigma," James said. "As the years sap the rest of us of our vitality, you do more and more. And you're never the worse for it."

"If you can spare Anna from the workshop, we'll call her in and present the plan to her."

"Margaretta and Sarah will be here to help with the work," James said. "I see no reason why Anna couldn't be away as long as necessary."

Sarah had been listening with total attention. Her disappointment over her portrait gave way to curiosity. She walked into the room. "I overheard you talking," she said, sitting close to her uncle. "Are you really going to take Anna to Washington City?"

Charles nodded. "She has been doing an admirable job with her miniature portraits here in Philadelphia. It would be good for her reputation to paint some prominent men."

Sarah imagined Anna painting senators, talking to the most important and cultured people in the country. She imagined herself going along with them as they painted the great men of the capital. "I wish I could go, too." She throbbed with the intensity of her wishing. If she only could...

"Sarah!" Her father reproached. "You're not ready for a painting trip. I doubt if you ever will be. You don't discipline yourself." He cast a disapproving eye at the self-portrait.

Sarah gazed at it, too. She thought she had done exceedingly well and now she was confused. "Won't I ever be worthy of the name Peale?"

Charles looked up. "Just a minute...I wonder." He paused and put his hand to his chin. "I wonder. It might work… It's true; you aren't ready to paint portraits of prominent men, but I see much promise here. You need to work harder, but maybe your cousin Rembrandt could take you into his studio in Baltimore and teach you the techniques he learned in Europe just as he taught Anna. If you apply yourself diligently, you will succeed. As long as we are going to stop in Baltimore anyway, you may as well come—that is, if you would be willing to submit to a routine of hard work." Charles looked seriously at Sarah.

James lifted his hand and dropped it on the table with a thud. "Ha, the parties with her young cousins would have more allure for our Sally than a routine of hard work, I'm afraid."

Sarah spun around, her cheeks hot with her sudden anger. "Nobody thinks I work hard enough, but I do. Just because I like parties doesn't mean I can't work hard." Her body trembled as she looked challengingly into her father's eyes.

"No one said you couldn't—just that you probably wouldn't." Her voice vibrated with anger. "I would. I'd work as hard as a mule and listen to everything cousin Rembrandt said."

Her mother patted James's hand and whispered something in his ear.

"I believe you, Sally," Charles said. "You're a Peale and your mother is a descendent of Oliver Cromwell. Why shouldn't you succeed if painting is what you really want to do?"

"Oh, it is." Blinking back tears she turned to her father. "Oh Papa, I do truly want to learn more. And I'm sorry you don't like my portrait."

Her father's expression softened. He took a deep breath. "Maybe it is time for you to learn what another artist can teach you." James studied the self-portrait again. "Your vision is young and I am old. But if I allow you to go, you must promise to work harder. You cannot give in to your impulses to be lazy."

Surprised and delighted, Sarah clapped her hands and wheeled around. She smiled at Uncle Charles and met his jolly blue eyes. "You'll see how hard I'll work."

The next day before Sarah went off to dress for the wedding of her music teacher to an architect, who was a good friend of the family, she paused to look at her portrait still on the easel. A flirt? It wasn't true, but she smiled at the thought and wondered how she would act if she were indeed a flirt.

She wore her best yellow frock and combed her hair as she had for her portrait. She wanted to look like the girl in the painting: clever, polished and serene. A crocheted cape and a bonnet with yellow ribbons were the last touches. She could be a flirt…just like Jane Hayes, if she wanted to.

She walked to the wedding with Margaretta and Anna. People were crowding into the church when they arrived. Sarah started up the steps after her sisters, but stopped to greet Jane Hayes.

"Sarah--my goodness, bright as a candle in a cave: aren't you?"

Sarah smiled, ignoring Jane's superior tone, and asked only if her mother was well.

"Very well, thank you." Jane said.

By then, two men had stepped between Sarah and her sisters. Sarah walked behind them, slightly annoyed when the men followed Anna and Margaretta into the pew. That meant Sarah would be separated from them. Well, it didn't matter. She liked sitting on the aisle. She would see everything best from there.

The church was almost full. Candles flickered and the altar was decorated with huge bouquets of mixed garden flowers. Organ music played softly. Sarah watched people being seated. At last the bride trembled down the aisle in a satin and lace dress. After a few solemn moments, Sarah took an uneasy breath. She felt a sneeze rising in her nose and knew there was no containing the growing urgency she felt. And of all the luck, she had gone off without a handkerchief. The sneeze came anyway, with a loud kerchief, but at least it cleared her head. She sat back. The organ music quieted and the minister spoke. Sarah, oblivious to his words, tried to fend off another sneeze by holding her breath, but it was useless. Seconds before that sneeze exploded, a handkerchief appeared before her. She took it and muffled her sneeze in it. She glanced at the man who had offered the handkerchief to her, a tall man with coppery hair. "Thank you," Sarah whispered.

He turned to her and winked, but already the tickle of another impending sneeze came over her. The sound was louder this time, and a few heads turned. It seemed she was to be plagued with sneezing. Before it could happen again, she rose and walked out of the church. Once outside the urge to sneeze left her.

At the reception, Sarah saw the owner of the handkerchief again. He was standing alone, looking tall in a brown suit. Jane Hayes in her low bodacious dress drifted toward him, with her shoulders tossed back, her eyes teasing. Sarah watched. She always enjoyed seeing Jane talk to men, observing how she drew them with her smile, her walk, her voice, her eyes. When Jane blinked, she claimed their entire attention. Men were dazzled. Sarah walked closer, pausing at a discreet distance. But the man recognized her and waved. Sarah smiled. He excused himself from Jane and walked toward Sarah.

"Are you all right now, Miss Peale?"

"Fine, thank you. You know my name?"

"Your cousin Rubens told me. We're friends. My name is Ben Blakely."

His eyes were wide, curiously searching hers. "I'd like to thank you properly for the handkerchief," she said, catching his gaze. After a moment she noticed Jane watching them, obviously not very happy about being interrupted. Sarah wondered how long she could hold Mr. Blakely's attention before he wandered back to Jane. She smiled in that teasing way Jane sometimes used. "How long have you known my cousin Rubens?"

"Not long. I've just been out of medical school a few months. I met him in the Musical Society."

You're a doctor then?"

He nodded. "Yes, and I was amazed at how much Rubens and his brother Raphaelle know about science and medicine."

"That's because Uncle Charles has theories on both—and discusses them endlessly, especially with his sons," Sarah said. "Rubens would have learned to paint like his brothers and sisters if his eyes hadn't been so weak. But if he couldn't paint, Uncle Charles taught him other useful arts. Music and botany interested him most."

"I hope I have a chance to meet your uncle," Ben said. "And Rubens tells me another of his brothers opened a museum in Baltimore. I can't imagine it all."

"That's Rembrandt; yes, he's more the artist than the naturalist. I'm going to Baltimore to study French techniques of portrait painting with him."

"You? Don't tell me you're another Peale with surprising talents."

"Very well, I won't tell you." She smiled.

"Can I get you some punch, Miss Peale?"

She took his arm. "Call me Sarah." Jane was still watching, but Sarah pretended not to notice. She liked this Ben Blakely. And as long as he wanted to talk to her, Jane could wait.

Sarah sipped her punch, hoping Ben thought she was accomplished in something besides sneezing. "If you're interested in music, Ben," she said as serenely as possible, "do come to the Museum for our Tuesday singing program. You might find it amusing. Rubens will be there."

"What about you, Sarah? Will you be there, too?"

She hesitated. "I often am."

"I'll be disappointed if you're not there Tuesday next."

She laughed and asked Ben what he thought of the new music of Beethoven. Ben did not even look at Jane after that.

During the next week, Sarah focused on the coming journey to Baltimore. It promised to be almost as interesting as Washington. She was still envious of Anna's good fortune--envious, but glad for Anna. She had earned her chance. Sarah was as aware of that as anyone. The trouble was that by the time she herself deserved such an opportunity, Uncle Charles would be too old to travel much. But she promised herself she wouldn't brood. Baltimore would be wonderful enough. She admired Rembrandt's portraits and would work hard. It should be fun, too. Rembrandt's daughters were about her age and popular in society.

And Baltimore held other curiosities. If she listened and observed carefully, maybe she would discover for herself just how serious the feud was between the Robinsons and the Peales.

All Sarah knew about it was that soon after Charles's oldest daughter Angelica married Alexander Robinson, he made it quite clear he thought Uncle Charles's habits were a disgrace. Exhibiting and selling portraits was bad enough, but to establish a museum and sell tickets to the public to see a collection of worthless junk was more than Alexander Robinson's gentlemanly soul could tolerate, especially in a father-in-law. When he could not persuade Charles to stop such plebeian activities, he took Angelica to Baltimore and kept her there.

Soon after that something happened between Alexander and the family. Sarah had asked for the details, but was told by her father and cousin Raphaelle she was too curious to be told. However, she suspected that Raphaelle was involved. She was determined that while she was in Baltimore she would find out all about the Robinson feud.

Her thoughts kept her awake. She tried to sleep but only became more restless. Though it was late, she crept out of her bed, tiptoed to the hall and quietly opened Anna's bedroom door. Silently she glided across the room and stopped at the edge of Anna's bed, hoping she'd be awake. Anna sat up, stifling a startled gasp. "Sarah, you frightened me, sneaking in like a ghost from the grave."

"Have you been thinking about Washington?"

"A little," Anna said, "just before I dozed off."

"Are you packing party dresses?"

"I should say so. Uncle Charles will get invitations and I want to be ready if I'm included."

"You will be," Sarah said.

"Can I get under the covers?" Sarah said. "The floor is cold."

Anna moved to one edge of the bed and Sarah slid in beside her and pulled the covers over her shoulders. She looked up at the ceiling and sighed. "Oh Anna, aren't we lucky?"

"Mmm, indeed we are. But I shudder to think of painting senators—maybe even the President. I doubt if I'll be able to hold my brush still if and when it comes to that."

"A nose is a nose whether it's a president's or a pickpocket's," Sarah said. "Raphaelle said when he paints a nose he thinks of it as a strawberry on a plate."

Anna laughed. "Raphaelle shouldn't say things like that. He doesn't take himself seriously."

"Oh, I think he does," Sarah whispered back. "Didn't you ever notice his eyes just before he makes a Joke? The joke is for him. If you care too much, he says, you make a mess of things."

"His pranks can be embarrassing."

''He's always kind to me, Anna. Of all Uncle Charles sons, Raphaelle is the kindest, the most gentle, the most talented and the most misunderstood. If I were Patty, I'd be a good wife to him, and maybe he wouldn't have to play so many jokes."

"If you were Patty," Anna said, "you'd have to worry about feeding the children and the boarders. You'd want Raphaelle to paint pictures that people will buy."

Sarah shrugged. "I wonder if I'll see cousin Angelica Robinson when I am in Baltimore."

"Sure, we'll see her. Uncle Charles won't let Alexander Robinson intimidate him."

"I hope not," Sarah said. "I'd like to see for myself how Alexander acts."

"I hope he's busy with his business interests when we call," Anna said. "I don't like rudeness."

"If he's rude, we'll be rude right back."

"We'll do no such thing," Anna said. "We'll mind our manners no matter what. Besides, soon enough you'll be busy with your lessons and I'll be off for Washington City."

"I shall like being in Baltimore with cousin Rembrandt," Sarah said, "but my heart will be with you in Washington City."

"You'll be very lucky to study with Rembrandt. He's one of the best artists in the country now."

"Not better than Uncle Charles. Not better than Papa. And what about Stuart and Trumbull?"

"What Rembrandt can teach you, none of the others could, not even Father. And Rembrandt has a fervor you can't resist. I improved tremendously while I was painting in his studio. And I painted a few important ladies."

Sarah yawned and wondered if she should pack her party gown and slippers. Then she thought of Benjamin Blakely, imagining his face, his blue eyes looking serious one minute, dancing with fun the next. After she saw him twice at the Tuesday singing programs, he had asked if he could see her again. She said yes and tossed it off as though she didn't really care. But she liked him and hoped she would see him again. They would be gone so long though; he might forget all about her by the time she got back.