Jonathan Sturges 1837 - 1840

Editor: So, here we have Asher Brown Durand’s portrait of Jonathan Sturges, likely painted between 1837 and 1840. It’s oil on canvas, and right away I'm struck by how severe the composition is. He looks very serious. What catches your eye? Curator: You know, it’s funny – 'severe' is one word for it! I actually find a quiet strength in his gaze. There’s a directness, wouldn't you say? Durand, who became famous later for landscapes that captured the divine in nature, started as a portraitist. He brings a keen eye to character, and this painting is all about capturing something essential in Sturges, this man, the sitter, rather than just presenting a likeness. Notice the slight asymmetry – how does that affect you? Editor: I see what you mean. It's not a flattering portrait, but honest. It does feel like Durand is aiming for something deeper than just a pretty picture. The asymmetry you mentioned makes him feel more… human, less idealized. Were portraits like this common at the time? Curator: Absolutely, particularly for prominent figures. But Durand’s connection to the Hudson River School is key. Even in portraiture, these artists were striving for a kind of truthful representation, connecting the human figure to a bigger picture... a transcendentalist worldview, perhaps? Is it possible that Durand used his earlier study of Sturges' physiognomy for the National Academy's print based on Durand's self-portrait? Editor: That's fascinating, this feels like more than a portrait, perhaps it is closer to being a cultural artifact that mirrors broader artistic trends of the period. Curator: Precisely! We can delve into portraiture as pure, faithful rendering, or perhaps look beyond for some hints, some connections. Editor: I appreciate the perspective shift. Instead of seeing it just as a record of a face, it’s part of a larger story. Curator: And that larger story can keep evolving with our fresh ideas, new readings... perhaps even become... art?