John Vanderlyn

American, 1775 - 1852

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The image is an artistic drawing showing a person from behind. The drawing focuses on the upper body, with minimal details on the head and unfinished lower legs. The person stands with one hand on the hip. Facial features are not depicted, and the hair blends into the unfinished details. The person wears a draped garment over the shoulders with soft folds for texture and movement. The visible hand on the hip shows details of the clothing's texture and creases. In the background, there is a faint sketch of a similar draped garment seemingly for further exploration by the artist. The scene is set against a plain blue-green backdrop.
John Vanderlyn, The Cape of Pinzon, c. 1838, brown and black chalk heightened with white chalk and pastel on blue board, John Davis Hatch Collection, Andrew W. Mellon Fund and Avalon Fund, 1980.4.5

The Cape of Pinzon

John Vanderlyn · c. 1838 · brown and black chalk heightened with white chalk and pastel on blue board ·  Accession ID  1980.4.5
The image shows a man standing barefoot, holding a long pole with both hands. He is leaning slightly to one side and looking over his shoulder to his right. The man has a beard and receding hairline, with shoulder-length hair. He wears a tunic with puffed sleeves and a skirt-like piece. The background is plain and unadorned, with the focus solely on the individual. The drawing is in a monotone color palette, giving it an aged and classical appearance.
John Vanderlyn, Figure Costume Study for Columbus Mural, Washington, D.C., in or after 1837, brush and brown ink with brown wash heightened with white on laid paper, John Davis Hatch Collection, 1979.20.111

Figure Costume Study for Columbus Mural, Washington, D.C.

John Vanderlyn · in or after 1837 · brush and brown ink with brown wash heightened with white on laid paper ·  Accession ID  1979.20.111
The image displays a full-body sketch of a nude male figure standing upright. The person has one hand on the hip and the other holding a staff. The facial features show a focused expression with eyes looking slightly to the side, a straight nose, closed lips, short dark hair combed back. There is no clothing, highlighting the natural tones of the skin. Another hand holding the staff is seen in a larger scale. The background is plain with light shading for depth, without added elements.
John Vanderlyn, Study for "The Landing of Columbus", c. 1842, charcoal, wash, and crayon on laid paper, Corcoran Collection (Museum Purchase through a bequest of George Lothrop Bradley and Helen McHenry Bradley, 1980), 2015.19.2799

Study for "The Landing of Columbus"

John Vanderlyn · c. 1842 · charcoal, wash, and crayon on laid paper ·  Accession ID  2015.19.2799
The image shows a man from the waist up, seated in a slightly turned position with his right shoulder facing the viewer. He has a square jawline, prominent cheekbones, and dark, curly hair. He is wearing a black coat, a white cravat, and a white shirt. He has sideburns and his left hand is resting on an unseen object, possibly a book. The background is dark with a subdued gradient.
John Vanderlyn, John Sudam, 1829-1830, oil on canvas, Andrew W. Mellon Collection, 1947.17.14

John Sudam

John Vanderlyn · 1829-1830 · oil on canvas ·  Accession ID  1947.17.14
The image shows a portrait of a person from the mid-torso upwards. The person is seated, facing forward, with a mirror behind reflecting the side of her face in profile. She has fair skin, dark curly hair, and is wearing a light-colored dress with puffed short sleeves and a floral element at the bust. A patterned fabric is draped over her right arm as she sits with her fingers resting on her lap. The background is simple with a dark greenish hue, partially showing a large oval mirror and a reddish curtain on the left.
John Vanderlyn, Mary Ellis Bell (Mrs. Isaac Bell), c. 1827, oil on canvas, Gift of Evangeline Bell Bruce, 1997.19.1

Mary Ellis Bell (Mrs. Isaac Bell)

John Vanderlyn · c. 1827 · oil on canvas ·  Accession ID  1997.19.1
This is an unfinished sketch showing a partial view of a person's upper body. The drawing features the torso area with details of clothing, including a dress with a deep collar, gathered fabric at the shoulders, and a sash tied in a bow at the front. The background is a plain, light-colored paper with no additional elements. The face, hair, and any jewelry or objects are not illustrated.
John Vanderlyn, Study of a Woman's Dress, probably c. 1820, graphite and black chalk heightened with white chalk on pink wove paper, John Davis Hatch Collection, Avalon Fund, 1982.4.5

Study of a Woman's Dress

John Vanderlyn · probably c. 1820 · graphite and black chalk heightened with white chalk on pink wove paper ·  Accession ID  1982.4.5
The image depicts a woman in a graceful, airborne pose with arms outstretched, holding billowing fabric. She has delicate facial features, wavy hair framing her face, and wears a flowing garment. The sketch is in charcoal or pencil with a plain background showing a faint grid pattern.
John Vanderlyn, A Muse, 1815/1818, charcoal and white chalk heightened with white on pinkish-tan paper, squared for transfer, Gift of the Monica and Hermen Greenberg Foundation in honor of Monica Lind Greenberg, 2006.154.1

A Muse

John Vanderlyn · 1815/1818 · charcoal and white chalk heightened with white on pinkish-tan paper, squared for transfer ·  Accession ID  2006.154.1
The image shows a man depicted from the waist up, positioned slightly turned to the side yet facing the viewer directly. He has a composed expression with defined facial features, including a high forehead, strong eyebrows, prominent cheekbones, and a clean-shaven face. His hair is dark and curly, styled away from his forehead. He is dressed in a dark coat featuring a double-breasted design with gold buttons, complemented by a high-collared, white cravat intricately tied at his neck. In the background, there is a subtle, dark, greenish hue.
John Vanderlyn, Zachariah Schoonmaker, 1815/1818, oil on canvas, Andrew W. Mellon Collection, 1942.8.36

Zachariah Schoonmaker

John Vanderlyn · 1815/1818 · oil on canvas ·  Accession ID  1942.8.36
This is a drawing of a man showing his upper body from just below the shoulders. The man is facing slightly to his right, with his face turned towards the viewer. He has curly dark hair, a prominent nose, and defined cheekbones. His expression is neutral. He is wearing a high-collared shirt or cravat and a dark coat with the collar turned up. There is a signed name at the bottom left of the drawing. The background is plain and neutral-toned, emphasizing the subject within an oval frame.
John Vanderlyn, Self-Portrait, c. 1803/1804, lithograph on wove paper; laid down, John Davis Hatch Collection, 1987.21.2

Self-Portrait

John Vanderlyn · c. 1803/1804 · lithograph on wove paper; laid down ·  Accession ID  1987.21.2
An older man is depicted in a half-body portrait, seated in a chair. He is facing slightly to the side, with his right arm resting on the arm of the chair. The man has a long, narrow face with deep-set eyes, a prominent nose, and a small chin. His hair is thinning on top and combed back, revealing a smooth forehead. He is dressed in a formal suit with a high-collared white shirt underneath. The jacket is buttoned up neatly, and he appears to be in a relaxed, seated pose. The background is a plain, textured surface. No jewelry or objects are visible.
John Vanderlyn, Portrait of a Seated Man, c. 1800, black chalk on bristol board, John Davis Hatch Collection, 1979.20.112

Portrait of a Seated Man

John Vanderlyn · c. 1800 · black chalk on bristol board ·  Accession ID  1979.20.112

Bibliography

1970

  • Lindsay, Kenneth C. The Works of John Vanderlyn: From Tammany to the Capitol. Exh. cat. University Art Gallery, Binghamton, New York, 1970.

1981

  • Oedell, William. John Vanderlyn: French Neoclassicism and the Search for an American Art. Ph.d dissertation, University of Delaware, 1981.

1990

  • Mondello, Salvatore, ed. The Private Papers of John Vanderlyn (1775-1852), American Portrait Painter. Lewiston, New York, 1990.

1998

  • Torchia, Robert Wilson, with Deborah Chotner and Ellen G. Miles. American Paintings of the Nineteenth Century, Part II. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1998: 209-210.