Warrior or Politician

Emanuel Leutze was a German-born nineteenth-century American painter who immigrated to the United States as a child. He is best known for his painting Washington Crossing the Delaware (1851), He has strong feelings towards what the American cause stood for during the revolution and what George Washington was able to do in the war. His home of Germany in the few years leading up to this painting being completed was in a state of civil unrest and revolutions that broke out all across Europe. The Politician's in Germany were not doing right on behalf of their citizens and Leutze coming from there knew this too well. The people were not unified and demonstrated popular discontent with the traditional, largely autocratic political structure of the government. His painting of Washington Crossing the Delaware and Washington Rally the Troops at Monmouth show a revolutionary. They show a strong leader that commanded change. He did not paint him as a politician. Most other paintings we find of George Washington show him not on the battlefield. They are portraits. Some show him in his battlefield garb and in the position of general, but not in action. Leutze emphasizes the warrior and most other artists emphasize the Politician.

Emanuel Leutze, Washington Crossing the Delaware, 1851, Oil on Canvas, 12ft. 5in x 21ft. 3in, Metropolitan Museum of Art, Accession number: 97.34.

Leutze’s most famous painting depicting the turning point in the American Revolution, Washington’s attack on the Hessians at the battle of Trenton on December 25, 1776. He depicts him with his soldiers and face pointed towards to impending battle. He is fully garbed for war and has his sword on his side. He and his men are in a full charge toward the task ahead. There would be no stopping them. Leutze shows him with the people making change for the colonies.

Leutze, Washington Rallying the Troops at Monmouth, 1853-54, Oil on Canvas, 156 x 261 in., Berkeley Art Museum.

Leutze Depicts here Washington rallying his men a battle against the British. The continentals at the battle of Monmouth were in shambles. They were retreating and defeat was imminent. However, Leutze captures the moment Washington comes and encourages the troops to press on. He gathers them for a charge against the British lines with sword drawn and they are victorious. He shows Washington here as a revolutionary. He is shows him as a successful leader of the oppressed.

Charles Wilson Peale, George Washington, 1778-1781, oil on canvas, 95 x 61 3/4 in.

On January 18, 1779, the Supreme Executive Council of Pennsylvania passed a resolution commissioning a portrait of George Washington and the artist Charles Wilson Peale was chosen to do the work. Peale traveled to the Princeton and Trenton battlefields in February of 1779 to make sketches for the background. Peale shows him in his army uniform seemingly relaxed. He is leaning up against a cannon after the Battle of Trenton, the turning point of the war.

Giuseppe Perovani, Portrait of George Washington, 1796, Oil on canvas, 29 x 23 3/4 in.

Washington is dressed not as a soldier, but as politician of the time. He has on black jacket, stockings, ruffles protrude from his neck and out his sleeves. His plans for the future of the country lie on a golden table and statues can be seen over his shoulder and under the table. The books are golden embroidered and the crest under the statue is as well. However, holstered beside his pants he still holds onto the past. Guiseppe shows what he once was. We see a quill in the background on the table. This instead of his sword will be his new weapon of choice.

Gilbert Stuart, George Washington, 1796, Oil on canvas, 97 1/2 x 62 1/2 in

This painting by Gilbert Stewart shows Washington as the president. He wears a nice long black overcoat with frills coming out of the sleeves. We see gold table and satin chair showing his new status and where he has come. In addition, His arm is outstretched in a power pose reiterating his new powerful status as leader of the country. Again, He still holds on to a sword alluding to his past, and again in the background is a quill, which like in Perovani’s work shows a transition in his life.

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