Jointly owned by the National Portrait Gallery, Smithsonian Institution, Washington, D.C., and the Museum of Fine Arts, Boston
Among American portraitists, Gilbert Stuart holds a place few others can claim. His early training happened at home, but it was the years spent studying and working across Britain and Ireland that shaped him into the painter history remembers. By 1793 he had made his way back to the United States, and it was there that his reputation as a chronicler of the nation's most prominent figures took hold. Washington sat for Stuart on more than one occasion. The Athenaeum portrait, completed in 1796, grew directly out of the acclaim surrounding an earlier likeness from the previous year the president hadn't originally intended to sit again, but Martha Washington pushed him toward it, and the second portrait followed. Washington is shown in a three quarter view- his body turned slightly while his face looks toward the viewer. His pale complexion, white hair and dark clothing create a strong contrast against the plain background. There's little warmth in the expression- restrained, composed, almost stern- and that reserve is exactly what lends the sitter his air of gravity and command. Stuart never finished the piece, and that was no accident. Keeping it incomplete suited his purposes: the canvas functioned less as a final artwork than as a working template, one he could return to again and again to churn out copies for buyers eager to own some version of Washington's face. Estimates suggest close to seventy-five such copies eventually emerged from this single prototype. Its now familiar name traces back to its long residence at the Boston Athenaeum, which acquired the painting following Stuart's death and held onto it for well over a century and a half. Ownership eventually shifted to a shared arrangement between the National Portrait Gallery and Boston's Museum of Fine Arts. Yet the painting's significance reaches well past the art world - the image Stuart created has become perhaps the single most recognized visual record of Washington's likeness, so much so that it served as the template for the engraved portrait still appearing on the one-dollar bill.
The two most distinctive features of this painting are George Washington’s face and the fact that the painting is unfinished.
This was the last painting Gilbert Stuart made of George Washington while he was still alive. The depiction of George Washington in this particular painting is the same one that was used on the image of the U.S. dollar, which makes this painting one of the most widely seen images of Washington in history and one of the most famous paintings in history in general.
The second distinctive feature is the fact that the painting is unfinished. The reason is not certain, whether it was intentional or due to certain circumstances. What is certain, however, is that Stuart kept the painting in his studio as a reference model so that he could later paint dozens of copies of it and sell them to many people because it was in very high demand.
