Brooklyn Museum Quarterly . ence to him need be made. So many ofour early statesmen, financiers and the belles of the periodlive in his glowing canvases and panels that his workstands almost as a synonym for American was born in Rhode Island, the son of Gilbert Stuarta Scotchman, and Edizabeth Anthony, the daughter of anEnglishman then living in Newport. He studied underCosmo Alexander and accompanied him to England in 1772and was forced to return to America by reason of thedeath of his patron. After a short stay, he returned to Eng-land and continued his studies. For a peri
Brooklyn Museum Quarterly . ence to him need be made. So many ofour early statesmen, financiers and the belles of the periodlive in his glowing canvases and panels that his workstands almost as a synonym for American was born in Rhode Island, the son of Gilbert Stuarta Scotchman, and Edizabeth Anthony, the daughter of anEnglishman then living in Newport. He studied underCosmo Alexander and accompanied him to England in 1772and was forced to return to America by reason of thedeath of his patron. After a short stay, he returned to Eng-land and continued his studies. For a period of over fifteenyears he successfully practiced his art in England and Ire-land. He returned to this country in 1793 imbued with thedesire to paint the portrait of Washington, and it is not anexaggeration to say that the so-called Athenaeum portrait ofWashington which came from Stuarts brush has preservedhis likeness in the minds of millions of his countrymen. ^^ Arts of Design, etc., by William Dunlap, Vol. I, p. 362. 83. GENERAL PETER GANSEVOORT From the painting by GILBERT STUART, lent by Mrs. Abraham Lansing, for the exhibition of Early American Paintings at the Brooklyn Museum. It is a subject of regret that Stuart did not keep aregister of his sitters, like Sully, and that he signed fewif any of his portraits, but his own remark that he signedhis name all over the canvas can be said of his work withperhaps more truth than of the work of any other quick he was to gauge the character of his sitter, andwhat Allston called his marvelous power of distinguish-ing the individual from the conventional, strikes one atthe first glance at his portraits. Wests remark to one ofhis pupils has been often quoted: It is of no use to stealStuarts colors; if you want to paint as he does you muststeal his eyes. ^^ In the fifteen examples of his work shown, an ex-ceedingly fine group of Stuarts, opportunity to examinehis work at different periods was offered. The portraits ofCol
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