Emanuel Leutze: American Exceptionalism and Manifest Destiny

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 iconic painting Washington Crossing the Delaware (1851), which reveals his strong sense of patriotism and respect for both George Washington and the American cause. Leutze’s strong ties to the young nation of America and its founding fathers significantly influence his paintings and depictions of key moments early on in America’s history. At the time of his painting, Leutze was depicting the scenes as the general public would have remembered or thought of them –a glorious and victorious birth of a nation. This theme stands out in many of his academic paintings. However, in the twenty-first century, we can look more closely at his paintings, connecting the trends that are emphasized in his work. Leutze’s paintings depict an image and assumption that is reflective of the nineteenth century memory and belief in the formation and growth of the United States of America. His paintings individually and collectively communicate a story of American exceptionalism and a romanticized belief in the American cause. This can be seen in his well-known paintings, while it is also emphasized in many of his less-common paintings of American scenes. When looking at his paintings, play close attention to Leutze’s use of light and color to emphasize importance and power, as well as the way he communicates his sense of patriotism through the focal points of the painting, while critically noting the images depicted in the shadows and dark sides of the image.

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. This was a spectacular military feat that many believed led the American army to ultimate victory under the tactical leadership of George Washington. Leutze was raised hearing this story and of the valor of its hero, Washington, leading Leutze to paint the scene with him as the focal point. Leutze depicts the scene in action, with the light in the near distance creating a sense of hope for a bright future under powerful leadership and escape from the icy cold. It further embodies a sense of patriotism and pride for the nation’s first leader, standing tall, leading his army, standing fast to the principles embodied in the billowing flag behind him, no matter the circumstances.

Emanuel Leutze, Mrs. Schuyler Burning Her Wheat Fields on the Approach of the British, 1852, Oil on Canvas, 32 x 40 in., Los Angeles County Museum of Art.

A less famous but just as relevant work by Leutze, this painting is the second of many depictions of the American Revolution. In this scene, Catherine Van Rensselaer Schuyler (1734-1803), wife of General Philip Schuyler, is shown lighting her own wheat fields on fire to keep them away from the fast approaching British. This is an act of patriotism, where all those nearby seemingly jump in to join the cause. While this scene is not supported by historical documentation, it is reflective of a common scorched-earth policy pushed by General Schuyler. Leutze’s use of color, the red white and blue of the dress, and strong undertones add to his sense of patriotism in this scene. 

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

Nearly forgotten about but arguably equal in scale and importance, Leutze’s twenty-three by thirteen feet depiction of Washington rallying his troops commands the audience’s attention. This painting has long been in the shadows of Washington Crossing the Delaware and was not even exhibited for over fifty years. This painting was commissioned by David Leavitt of New York City. The scene depicts Washington after confronting Major General Charles Lee for retreating after a short encounter with the British; he quickly recognized the moment of crisis, rallied his troops and drove off the enemy assaults, resulting in an honorable draw. Leutze effectively portrays the chaos as well as the terrific heat that was causing men to fall from exhaustion and thirst. Despite the chaos, Washington leads on, with the light shining on his wrathful face in the midst of a bloody battle.

Emanuel Leutze, Westward the Course of Empire Takes its Way, 1861, Oil on Canvas, 33 ¼ x 43 3/8in, Smithsonian American Art Museum.

A part of Leutze’s mural study for the Capitol in Washington, and currently hanging in the Smithsonian American Art Museum, this scene is a symbol of Manifest Destiny, the strong American belief that it was the United States’ divine call to explore and expand their land from the Atlantic to the Pacific. The Americans viewed this as their duty, to bring civilization to the unknown parts of the world, specifically that in their own continent. The bright light shining in the west corner of the painting reflects the notion of a bright future and opportunity to be found in the west at the hand of those sojourning, at the brink of their new promised land. 

Emanuel Leutze, Indians Attacking a Wagon Train, 1863, Oil on Canvas, 40 in. x 67 in., sold in 2019 to an undisclosed party after being on loan at the Metropolitan Museum of Art from 2012-18.

Leutze is depicting a scene of a wagon train bound for California -ultimately following through with their call of Manifest Destiny, which has just been alarmed of an imminent approach of hostile Indians. The enemy is only seen as a faint smudge in the distance, but the strong sense of fear and preparation shows the audience the severity of the impending confrontation. Every individual is preparing to defend himself, including the young boy, innocently portrayed ready to fend off any who come to challenge them. The American flag clutched by the rider in the right corner shows the commitment they have made to the cause, exhibiting that they will back down for nothing.