samuel f.b morse, gallery of the louvre

8/17/2019 Samuel F.B Morse, Gallery of the Louvre

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GALLERY OF THE LOUVRE , 1831–33, SAMUEL F. B. MORSE, AMERICAN, 1791–1872, OIL ON CANVAS, 73 ¾ X 108 IN.

(187.3 X 274.3 CM) TERRA FOUNDATION FOR AMERICAN ART, DANIEL J. TERRA COLLECTION,

1992.51, PHOTOGRAPHY © TERRA FOUNDATION FOR AMERICAN ART, CHICAGO.

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S A M U E L F . B . M O R S E ' S G A L L E R Y O F T H E

L O U V R E

WED SEP 16 2015 – SUN JAN 10 2016

SEATTLE ART MUSEUM

THIRD FLOOR GALLERIES

Samuel F. B. Morse (1791–1872) is better known today for his invention of the electromagnetic

telegraph—and for "Morse" code—but he began his career as a painter and rose to the Presidency of

the National Academy of Design in New York. The monumental Gallery of the Louvre is his masterwork,

a canvas he created for the edification of his countrymen. The large painting will be shown in a

theatrical setting as the kind of grand public display that Morse himself would have created in 1833.

The beginning of Morse's pioneering efforts into new technologies—namely the electromagnetic

telegraph and the medium of photography—can be found in the crafting of this one work of art,

Gallery of the Louvre . This piece was Morse's ambitious effort to capture images of the Louvre's great

paintings and transport them across the ocean and throughout the country, to the republic's young

cities and villages, so that art and culture could grow there.

Gallery of the Louvre , 1831–33, Samuel F. B. Morse, American, 1791–1872, oil on canvas, 73 ¾ x 108 in.

(187.3 x 274.3 cm) Terra Foundation for American Art, Daniel J. Terra Collection, 1992.51. Photography

© Terra Foundation for American Art, Chicago.

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Want to take a closer look at Morse’s Gallery of the Louvre ? Use the magnifying glass on the image below to

explore the expansive and highly detailed painting.

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FIGURE OF SAMUEL F. B. MORSE

Samuel F. B. Morse was a respected painter when he set sail from New York for Europe in 1829 to visit

the princely picture galleries. As Morse took in the glories of the Louvre Museum in Paris, he

recognized it as a model for the United States. The Louvre had been a royal palace but now it was a

national museum displaying the royal treasures, open free to all, artists and art admirers alike. Morse

had the idea to create the Louvre in miniature and transport it back to his country so that it could beviewed by students who lacked appropriate models for learning the art of painting and shared with all

his countrymen, who still had few opportunities to see great art. Morse has shown himself in the role of

teacher here, at the very center of the scene, offering instruction to a young woman student who is

copying one of the masterpieces before her.

Morse hoped to attract large audiences of Americans to the exhibition of his painting of the Louvre

after he completed it in 1833, but he had little success. Yet, his work on Gallery of the Louvre played a

part in inspiring him to find other means to capture images and to transmit information across the


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oceans. Eventually he abandoned painting, as his experiments with the electromagnetic telegraph

consumed him and his fascination with the new medium of photography led him to pursue another art

form.


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GALLERY OF THE LOUVRE (DETAIL), 1831–33, SAMUEL F. B. MORSE.


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FRANCIS I, AFTER TITIAN, STUDY FOR GALLERY OF THE LOUVRE, 1831-33. OIL ON PANEL, SAMUEL F. B. MORSE,


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THOUGHT TO BE FIGURES OF JAMES FENIMORE COOPER AND HIS WIFE AND DAUGHTER

In Morse’s daily toils in the Louvre galleries, his friend, the American writer James Fenimore Cooper,

joined him. Morse painted the figures into his scene only after he had returned to New York, so his

precise motivation to include this particular set of characters is not known. But Cooper was with Morse

every day, offering encouragement and criticisms. “I sit and have sat so often and so long that my face

is just as well known as any Vandyke on the walls,” Cooper wrote of his regular place at Morse’s side.

“Crowds get round the picture, for Morse has made quite a hit in the Louvre, and I believe that people

think that half the merit is mine.” Morse was thought to put Cooper and his wife in the painting,

showing them hovering over the easel of their art student daughter, Susan, with Cooper gesturing as

though he is making some critical point about art making. Morse had hoped to eventually sell the

painting to Cooper, but that did not come to pass.


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SCHOOL CHILDREN VISIT HORATIO GREENOUGH’S STATUE OF GEORGE WASHINGTON AT THE U.S. CAPITOL.

PROBABLY 1899. FRANCES BENJAMIN JOHNSTON (1864-1952) PHOTOGRAPHER.

THOUGHT TO BE THE SCULPTOR HORATIO GREENOUGH AND BRITTANY WOMAN ANDCHILD

Among the visitors to the Louvre on this occasion are a Brittany woman, identifiable by her distinctive,

traditional towering headdress, and her young child. This mother and child, hailing from a rural region

far outside Paris, are reminders that the Louvre was open to all, art students and art enthusiasts alike,

and that for Morse, the contemplation of art was essential to education and enlightened citizenship.

The American sculptor Horatio Greenough, another of Morse’s artist companions in Paris, is thought to

enter from the long gallery beyond, his gaze focused on the ancient marble sculpture of Artemis with a

Doe. Greenough aspired to create modern monuments that were as grand and awe-inspiring as those

of ancient Greece and Rome. Perhaps Greenough at this moment was already contemplating the


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design for his prestigious commission from the United States Congress in 1832, a colossal marble

monument to George Washington, which Greenough conceived as an idealization in the form of the

god Zeus enthroned.

THOUGHT TO BE THE FIGURE OF RICHARD W. HABERSHAM

Richard West Habersham, a young American portraitist from Georgia, was Morse’s roommate in Paris,

and it is believed Morse added him to the picture, thus providing a lasting tribute to an artist who in

reality fell into obscurity. Habersham is at work on a landscape study, although he does not appear to

be directly copying any of the landscapes or seascapes—works by Nicolas Poussin or Claude Lorraine—

that Morse included in his Louvre in miniature. Copying was not considered an end in itself for an artistbut was seen as an essential part of the creative process, leading to mastery of technique and

informed powers of invention.

With the exception of the Brittany woman and her child, all of the visitors to Morse’s Louvre Museum

are Americans, most are artists, and three of the young art students are women.


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FIGURE OF WOMAN AT WORK ON A MINIATURE PAINTING


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This young woman is deeply involved in the making of a miniature painting. Her identity is a mystery. It

is possible that she is a Miss Joreter, who took lessons from Morse in the Louvre. It has also been

suggested that she represents Morse’s beloved wife, Lucretia, whose unexpected death in 1825 at age

26 left her husband grieving and footloose, sending him to Europe for the prolonged period of study

and reflection that resulted in the painting of The Gallery of the Louvre.

It is not apparent from the picture, but death was everywhere around Morse in Paris and accounts in

part for his seeking refuge in the Louvre. A cholera epidemic hit Paris in 1832, and Morse walked daily

among the dead and dying.

MONA LISA, LEONARDO DA VINCI (1452-1519, ITALIAN, CA. 1503-19.

Leonardo’s portrait of Lisa Gherardini, called Mona Lisa, was a favorite of artists at the Louvre in the

19th century. Mona Lisa here hangs just below the portrait of Francis I. The French king had brought

Leonardo from Italy to France in 1516, when Leonardo may have been working on the enigmatic

portrait still. Francis I purchased the painting from Leonardo’s estate. It was put on public display at

the Louvre two centuries later, in 1797.


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T H E D A W N O F T H E I N F O R M A T I O N A G E

Samuel F.B. Morse was a man of many talents: he was a painter and an inventor, and, in retrospect, he

was nothing less than the prophesier of the coming information age.

Morse’s intent when he painted Gallery of the Louvre mirrors his intent when he worked to develop the

electromagnetic telegraph: his desire was to help spread human knowledge across vast distances. Most

notably, with his painting, he wanted to inform American artists and elevate the taste of his

countrymen.


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In Gallery of the Louvre , Morse hoped to educate the American public about the masterworks of

European art he saw at the Louvre, “the most splendid…collection of works of art in the world,” he

called it. He painted for American art students who lacked appropriate models for learning the art of

painting. At this time, it was conventional practice for developing artists to copy a master’s work so as

to improve their skills in color, composition, and form. Gallery of the Louvre was designed to offer

students the finest examples of the Old Masters, and European art was held up to Americans as

representative of the highest level of achievement.

Morse chose thirty-eight of his favorite Old Master paintings, and then he scaled them down—painting

each in miniature, and rearranged them as he saw fit across the large canvas. Back in New York, he

added figures to his gallery.

Today, and in part due to Morse’s efforts in advancing communications technology, the collections of

art museums worldwide are readily accessible to inspire art enthusiasts everywhere, no matter where

one might reside.

F R O M P A R I S T O A M E R I C A

The painting depicts masterpieces from the Louvre's collection that Morse rearranged according to his

own tastes and instructional aim. They hang in one of the Louvre’s grand galleries, the Salon Carré.

Morse envisioned the gallery as a workshop where artists and art students sketch and copy from the

Old Masters, thus honing their skills and feeding their artistic imaginations. Morse selected the

paintings he considered the best instructional examples, including Leonardo da Vinci’s Mona Lisa ,

along with portraits, history paintings, and religious subjects depicted by such artists as Titian,

Veronese, Caravaggio, Rubens, Van Dyck, and Watteau. Morse placed himself front and center,

instructing a young woman art student who copies one of the masterpieces before her. He also

introduced some of his American friends in Paris, including the novelist James Fenimore Cooper, who,

with his wife, hovers over the canvas of their art student daughter, Susan.

Morse copied directly from the paintings in the Louvre, probably employing at times a camera obscura

—a lens and box device that allowed him to draw from a projected image. One of his surviving oil

sketches, his miniature of Titian’s portrait of Francis I, is included in the installation.

T A K E T H E A U D I O T O U R


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R E S O U R C E S

SAMUEL F. B. MORSE'S GALLERY OF THE LOUVRE : A GUIDE TO THE PAINTING >>

E X H I B I T I O N S U P P O R T

Samuel F. B. Morse's Gallery of the Louvre and the Art of Invention is organized by and with support

from the Terra Foundation for American Art.

Corporate Sponsor

U. S. Trust & Bank of America

Generous Support

American Art Endowment

Seattle Art Museum

Gallery Of The Louvre - Introduction - SAM Share

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238Seattle Art Museum - Gallery Of The Louvre - Introduction - SAM

168Seattle Art Museum - Gallery Of The Louvre - The Painting - SAM

113Seattle Art Museum - Gallery Of The Louvre - The Paintings within the Painting - SAM

100Seattle Art Museum - Gallery Of The Louvre - The Characters In The Painting - SAM

Seattle Art Museum

Samuel F. B. Morse's "Gallery of the Louvre" and the Art of InventionCookie policy

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TO LEARN MORE ABOUT MORSE AND HIS GRAND MASTERWORK, PICK UP A COPY OF THE EXHIBITION CATALOGUE,

WITH ESSAYS CURATORS AND CONSERVATORS, AND HISTORIANS OF ART, SOCIETY, AND TECHNOLOGY.

(PUBLISHED BY THE TERRA FOUNDATION FOR AMERICAN ART). ADDITIONALLY, CHECK OUT THE ILLUSTRATED

GUIDE, WHICH OFFERS AN HISTORICAL OVERVIEW OF THE PAINTING WRITTEN BY THE EXHIBITION’S CURATOR,

PETER JOHN BROWNLEE, AS WELL AS AN ELABORATE KEY TO THE PICTURES AND PEOPLE IN MORSE’S GALLERY

OF THE LOUVRE. (PUBLISHED BY THE TERRA FOUNDATION FOR AMERICAN ART).

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samuel f.b morse, gallery of the louvre

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