The Smithsonian Art Museum has a video lecture on its site giving a superb illustrated overview of American Portrait Miniatures. The short piece is narrated by Carol Aiken, a specialist conservator of miniatures, historian and writer. The link is: http://americanart.si.edu/luce/media.cfm?key=372&artistmedia=0&object=2610&subkey=350 .

The following article entitled Celebration of Presidential Homeliness: Part Three of the American Pictures Series, by staff writer Laura Brown appeared in Washington College’s paper, The Elm: 

“Abraham Lincoln’s portrait was the subject of the third American Pictures Distinguished Lecture Series, as sponsored by the Washington College’s C. V. Starr Center and the Smithsonian.In a talk that was very appropriate for the National Portrait Gallery, Lincoln scholar Harold Holzer discussed a tiny painting of the president that measures a delicate 3.5-by-4.5 inches.

John Henry Brown painted this miniature portrait just in time for Lincoln’s first presidential election in 1860, and it made waves. Lincoln had had little success in his political career, but now sought the presidency. America needed to see him.

He did little of his own campaigning in the national election, so it was even more important for his picture to be made public. But even Lincoln had always made fun of his attractiveness, or lack thereof (getting kicked in the face by a horse had not helped his visage; one side turned up and the other faced down).

Paintings could smooth over foul lines, so Mr. Lincoln’s face was level when voters finally looked on it. Plus, he looked young for his 50 years, and seemed to have the necessary vitality for such a job. This portrait proved that Lincoln was not “as ugly as he supposed and that he was dignified enough to be president,” as Holzer proclaimed.

The small size of this portrait makes the experience of looking more personal. It is best viewed when brought close to the face and highlighted with a magnifying glass. Now Mr. Lincoln was physically closer to the people.

The miniature was painted and reproduced in a time when artists and printers were the only translators of images to the American public. Harold Holzer reminded the audience that without television, most people only saw the presidential candidates in newspaper illustrations. Holzer turned to the discussion of such a portrait today. It is still relevant because of the power of images. Consider how Barack Obama’s red and blue “Hope” portrait played in the 2008 election. That image spread like wildfire and definitely affected the general perception of the candidate.

Likewise, Holzer suggested that this small portrait helped win huge electoral votes, and the presidency. When Lincoln’s picture was released, it made him more accessible to the public. Even with the development of photography, he continued to be accessible to artists and photographers, understanding the power in technology.

When he did begin to age visibly in photographs (as all presidents do) the people recognized that he was under the stress of civil war, and they determined that the wear showed admirably. Thus he used his image to his advantage.

Harold Holzer’s manner was genial and very knowledgeable, and his passion for the subject was evident. As a head of the Metropolitan Museum of Art, he certainly had a strong foundation in discussing photography. His lecture on the rendition of Lincoln, that “giant historical figure in an irresistible miniature” was brilliant and will continue to trigger much conversation.”

The Royal Oak Foundation Lecture Series
Monday, May 18
Elle Shushan will present:
Painted Faces: The Private History of Portrait Miniatures
Abigail Adams Smith Auditorium
417 East 61st Street, New York, NY
212.480.2889 x 201 for registration www.royal-oak.org