Arthur Armstrong, a notable figure in the American art scene of the early to mid-19th century, carved out a significant career primarily in Pennsylvania. Born in 1798 and passing away in 1851, Armstrong's artistic endeavors spanned a period of dynamic growth and evolving identity in American art. Though perhaps not achieving the national fame of some of his contemporaries, his work as a portraitist, landscape artist, and painter of still life, religious, and historical scenes, particularly within his regional sphere, marks him as an important contributor to the cultural fabric of his time. His dedication to a meticulous technique and a keen attention to detail are hallmarks of his surviving oeuvre.
Armstrong's artistic journey is a fascinating study of a provincial painter who, through skill and perseverance, established a respected practice. His works offer valuable insights into the aesthetic sensibilities and social milieu of 19th-century Pennsylvania, capturing the likenesses of its citizens and the character of its landscapes. This exploration will delve into his life, artistic development, key works, influences, and his lasting legacy within the broader context of American art history.
Early Life and Artistic Genesis in Pennsylvania
Arthur Armstrong was born in 1798 in Manor Township, Lancaster County, Pennsylvania, a region rich in history and agricultural prosperity. His father, James Armstrong Sr., was a successful farmer, indicating a family of some standing within the community. Notably, the Armstrong family had connections to General John Armstrong, who served as the United States Secretary of War, suggesting a lineage with a degree of prominence in American public life. This background may have provided Arthur with a certain level of social access, which could have been beneficial for a budding artist, particularly in securing portrait commissions.
The exact circumstances of Armstrong's initial artistic training are not exhaustively documented, which was not uncommon for artists working outside major metropolitan centers during this period. However, it is known that he embarked on his professional artistic career around 1820. A significant step in this early phase was the establishment of a gallery in Marietta, Pennsylvania. It was here that Armstrong publicly declared himself not only a painter but also a teacher of art, signaling his ambition and confidence in his abilities. This move to Marietta, a bustling river town on the Susquehanna, would have placed him in a position to engage with a diverse clientele and potentially attract students.
His decision to teach suggests a desire to disseminate artistic knowledge and perhaps to supplement his income as he built his reputation. For many American artists of this era, versatility was key to survival, and combining painting with teaching was a common practice. Armstrong's early years in Marietta were thus formative, laying the groundwork for a career that would primarily unfold within the familiar landscapes and communities of his native Pennsylvania.
The Influence of Mentors and Artistic Circles
While some aspects of Arthur Armstrong's early training might have been self-directed, a common path for many American artists of his generation, he did benefit from the guidance of established painters. The most significant of these mentors was Jacob Eicholtz (1776-1842), a prominent and highly active portrait painter based in Lancaster, Pennsylvania. Eicholtz, who himself had transitioned from being a coppersmith to a successful artist, likely with some early advice from Thomas Sully and Gilbert Stuart, would have provided Armstrong with invaluable instruction and insight into the practicalities of a painter's career.
Eicholtz's style, characterized by a straightforward realism and a solid, if sometimes unrefined, technique, undoubtedly left an imprint on Armstrong. The older artist's success in capturing the likenesses of Pennsylvania's citizenry would have served as a direct model for Armstrong. The artistic environment in Lancaster, with Eicholtz as a central figure, provided a supportive, albeit regional, hub for aspiring artists.
There is also speculation, though not definitively confirmed, that Armstrong may have received some instruction from Thomas Sully (1783-1872). Sully, an English-born artist who became one of America's foremost portrait painters, was based in Philadelphia but traveled for commissions. His elegant and somewhat romanticized style influenced a generation of American portraitists. If Armstrong did study with Sully, even briefly, it would have exposed him to a more sophisticated and fashionable approach to portraiture, potentially refining his technique and broadening his artistic horizons beyond a purely local vernacular. The influence of such prominent figures, whether direct or indirect, was crucial for an artist like Armstrong in shaping his skills and professional identity.
Development of a Distinctive Artistic Style
Arthur Armstrong's artistic style evolved throughout his career, with his most mature and refined works generally dated to the period between 1840 and 1850. A hallmark of his approach was a commitment to realism, particularly evident in his meticulous attention to detail. This was especially noticeable in his rendering of his sitters' attire, where intricate lace, fine fabrics, and jewelry were often depicted with painstaking care. Such precision not only showcased his technical skill but also served to convey the social status and material prosperity of his subjects, an important consideration for portraiture in that era.
His handling of color was often rich and deliberate. In his interior scenes, Armstrong frequently employed a striking red, often in the form of an upholstered chair or drapery, which served as a vibrant focal point and a contrasting element to the more subdued tones of his sitters' clothing or the background. This use of a signature color element demonstrates a conscious compositional strategy. His compositions, while generally conventional for the period, were thoughtfully arranged to present his subjects in a dignified and engaging manner.
A characteristic feature often found in Armstrong's paintings is his signature or inscription. He commonly marked his works with a three-line inscription, such as "A. Armstrong.A.P. Lancaster, PA.," sometimes utilizing stencils in combination with hand-signing. This consistent method of identification aids in the attribution of his works today. While his early paintings are sometimes described as possessing a certain crudeness or naiveté, his later works demonstrate a clear progression towards greater sophistication in handling, modeling, and overall finish, reflecting his continuous development as an artist.
Portraiture: Capturing Likeness and Character
Portraiture formed the cornerstone of Arthur Armstrong's artistic output, and it is in this genre that his skills are most readily assessed. He was adept at capturing not only a physical likeness but also an element of his sitter's character or social standing. His clientele primarily consisted of the citizens of Lancaster and surrounding areas, individuals who sought to have their images preserved for posterity.
Among his notable works is the charming double portrait, Catherine Elizabeth and Emily Luretta Druckenmiller, painted in 1849. This piece, considered one of his most vivid, depicts two young sisters, adorned with fashionable red coral necklaces. The inclusion of two lambs in the background adds a touch of pastoral innocence and symbolism, common in child portraiture of the period. The painting showcases Armstrong's ability to handle complex compositions involving multiple figures and his sensitivity in portraying children.
Another significant example is Mrs. Christian Gast (1842). This portrait is particularly interesting as it presents the subject in an interior setting, seated in one of Armstrong's characteristic red chairs. Such interior views are somewhat rarer in his known body of work, which often features simpler backgrounds. The painting demonstrates his skill in rendering textures, from the fabric of Mrs. Gast's dress to the polished wood of the chair.
Armstrong also painted portraits of his own family, including James Armstrong, Sr. (believed to have been painted between 1828 and 1848, likely reflecting the subject's life rather than a single painting date). This work, too, features the subject in a red armchair, reinforcing this motif in his portraiture. A portrait of James Stewart (subject's dates 1828-1866) places the figure against a winter landscape with distant hills, showcasing Armstrong's ability to integrate landscape elements into his portrait work.
He seemed to have a particular affinity for painting young women, often depicted in white or light-colored dresses, with their hands and arms prominently displayed—a convention of the era. While art historical accounts note that, like many provincial painters, he sometimes struggled with the anatomical intricacies of hands and ears, his overall ability to create compelling and lifelike representations was well-regarded by his patrons. His work for a Kentucky fire company further attests to his reputation extending beyond his immediate locale for specific commissions.
Beyond Portraits: Landscapes and Other Genres
While Arthur Armstrong is primarily recognized for his portraiture, his artistic repertoire extended to other genres, including landscapes, still lifes, and even religious and historical subjects. This versatility was characteristic of many artists of his time who needed to adapt to various commission opportunities and personal artistic interests. The American landscape was becoming an increasingly popular subject during Armstrong's lifetime, with artists like Thomas Cole (1801-1848) and Asher B. Durand (1796-1886) spearheading what would become known as the Hudson River School.
Although Armstrong was not formally part of this movement, his engagement with landscape painting reflects a broader cultural appreciation for the American scene. His landscapes, often depicting the familiar environs of Pennsylvania, would have appealed to local patrons proud of their region. These works likely showcased his attention to detail in rendering natural forms, light, and atmosphere, similar to the meticulousness seen in his portraits.
His still life paintings would have allowed him to focus purely on form, texture, and color, arranging objects to create harmonious compositions. This genre, with its roots in Dutch Golden Age painting, had a long tradition and offered artists a chance to display their technical virtuosity. Similarly, religious and historical paintings, though perhaps less frequently commissioned in provincial America compared to portraits, represented the highest aspirations of academic art. Undertaking such subjects would have demonstrated Armstrong's ambition and his engagement with broader art historical traditions. While fewer examples of these genres by Armstrong may be widely known today compared to his portraits, their existence underscores the breadth of his artistic practice.
Teaching, Collaborations, and Artistic Community
Arthur Armstrong's role as an art teacher, which he declared upon opening his Marietta studio around 1820, was an important facet of his career. He is known to have instructed several aspiring artists, contributing to the development of local talent. One of his notable students was John Jay Libhart (1806-1883), who hailed from Marietta. Libhart, who later became known as a naturalist and craftsman in addition to being a painter, reportedly benefited greatly from Armstrong's tutelage, and the two maintained a lifelong friendship. This master-student relationship evolving into a lasting collegial bond speaks to Armstrong's character and his supportive role within the local artistic community.
Another student mentioned in historical accounts is an individual named Brown, who, by studying with Armstrong in his spare time, acquired skills in miniature painting. Miniature portraiture was a specialized and popular art form in the 19th century, valued for its portability and intimate scale. Armstrong's ability to impart knowledge in this delicate medium further highlights his technical range.
Beyond teaching, Armstrong also engaged in collaborations. Records indicate that during a period in Philadelphia, he worked with another artist, Edwin M. Schaeffer. The nature and extent of their collaborative works are not fully detailed, but such partnerships were not uncommon, allowing artists to combine their strengths or tackle larger projects. Philadelphia, being a major artistic center, would have provided Armstrong with opportunities for interaction with a wider circle of artists, including figures like John Neagle (1796-1865) or Bass Otis (1784-1861), who were active there. These interactions, whether through teaching or collaboration, enriched Armstrong's career and helped to foster a sense of artistic community, however localized.
Personal Life and Community Engagement
Arthur Armstrong's personal life, while not extensively publicized, provides context for his career as a working artist supporting a family. He was married to Harriet Wentz, and together they had a substantial family, reportedly at least six children. This included five daughters and one son, James Thomas Armstrong. Tragically, as was common in the 19th century due to high child mortality rates, not all of their children survived to adulthood. Their daughters Elizabeth and Hannah passed away young. Their son, James Thomas, also pursued art but sadly died at the young age of 20.
The only daughter to reach adulthood and marry was Margaret Katherine Armstrong. The responsibilities of a large family would have undoubtedly been a significant motivator for Armstrong's diligent pursuit of commissions and his engagement in teaching. His ability to provide for his family through his artistic endeavors in a provincial setting speaks to his skill and business acumen.
Beyond his family and artistic practice, Armstrong was an active member of his community. He served as the first treasurer of the Mechanics Society in Lancaster. Such societies were common in American towns during this period, promoting skilled trades, education, and civic improvement. His involvement in this capacity indicates a respected position within the town and a commitment to public service. He was also reportedly involved in various other public projects, further underscoring his integration into the social and civic life of Lancaster. This community engagement, combined with his artistic contributions, paints a picture of a well-rounded and respected citizen.
Armstrong in the Context of 19th-Century American Art
To fully appreciate Arthur Armstrong's contributions, it is essential to place him within the broader landscape of American art during the first half of the 19th century. This was a period of burgeoning national identity, and art played a role in defining and reflecting American culture. While major cities like Philadelphia, New York, and Boston were the primary centers of artistic activity, a significant amount of art was produced in regional towns and cities by artists like Armstrong.
Nationally, portraiture was dominated by figures such as Gilbert Stuart (1755-128), whose iconic images of George Washington set a standard, and Thomas Sully, known for his elegant and flattering likenesses. Other prominent portraitists included Rembrandt Peale (1778-1860), son of the versatile Charles Willson Peale (1741-1827), Samuel F.B. Morse (1791-1872), who later gained fame as an inventor, and Chester Harding (1792-1866), whose rugged portraits captured a wide array of American figures. Charles Loring Elliot (1812-1868) was another contemporary who achieved considerable fame for his characterful portraits.
Armstrong's work, while perhaps not reaching the national renown of these artists, shared the common goal of providing patrons with lasting images of themselves and their families. His detailed realism aligns with a general American preference for straightforward representation, though it lacked the romantic flourish of Sully or the psychological depth sometimes found in the work of the era's leading masters.
In landscape painting, the Hudson River School, led by Thomas Cole and Asher B. Durand, was gaining prominence, celebrating the grandeur and unique character of the American wilderness. While Armstrong's landscapes were likely more modest in scale and focused on the cultivated Pennsylvania scenery, they participated in this growing appreciation for the local environment. Artists like George Caleb Bingham (1811-1879) were beginning to document life on the expanding frontier, while genre painters like Henry Inman (1801-1846) captured scenes of everyday American life. Armstrong's work, rooted in his Pennsylvania community, provides a valuable regional perspective within this diverse national artistic tapestry.
Later Years, Death, and Artistic Legacy
Arthur Armstrong continued his artistic practice throughout his life. Even after the death of his wife, Harriet, he remained dedicated to his craft, producing paintings that contributed to the visual record of his community. His later works, particularly those from the 1840s, are generally considered to represent the peak of his artistic maturity, exhibiting a refined technique and a confident hand.
He passed away in 1851 at the age of approximately 53. The exact cause of his death is not definitively known, though historical accounts speculate that it may have been due to a long-term illness. At the time of his death, Armstrong had established a solid reputation within Lancaster and the surrounding regions of Pennsylvania. He reportedly left behind a considerable estate, including several of his own paintings, among them portraits of his family members. This suggests a degree of financial success derived from his artistic career, a notable achievement for a regional artist of his time.
Arthur Armstrong's legacy is primarily that of a skilled provincial painter who diligently served his community. His portraits offer invaluable glimpses into the lives and appearances of 19th-century Pennsylvanians, preserving their likenesses for future generations. His landscapes and other works contribute to our understanding of the region's visual culture during this period. While he may not have been an innovator on a national scale, his commitment to his craft and his ability to capture the character of his subjects and scenes make his work an important part of America's rich and varied artistic heritage. His paintings are held in various collections, particularly those focusing on Pennsylvania art and history, and continue to be appreciated for their historical significance and artistic merit.
Re-evaluation and Enduring Significance
In the grand narrative of American art history, artists like Arthur Armstrong, who worked primarily within a regional context, sometimes receive less attention than their counterparts in major metropolitan centers. However, a more nuanced understanding of American art recognizes the vital role these provincial painters played. They were often the primary, if not sole, providers of artistic services to their communities, documenting local figures, landscapes, and events.
Armstrong's work is a testament to the artistic activity that flourished beyond the established art capitals. His paintings, characterized by their detailed realism and earnest representation, reflect the tastes and values of his patrons in early to mid-19th-century Pennsylvania. While he may not have achieved the widespread fame of a Gilbert Stuart or a Thomas Cole, his contributions are significant on a regional level and offer a crucial counterpoint to the art produced in more cosmopolitan settings.
Today, the works of artists like Arthur Armstrong are increasingly valued by collectors of early American art, regional historians, and art enthusiasts who appreciate their unique charm and historical importance. His portraits serve not only as artistic objects but also as historical documents, providing visual records of individuals and societal norms of a bygone era. The meticulous rendering of costume, for instance, offers insights into fashion and material culture.
The study of artists like Armstrong enriches our understanding of the breadth and diversity of American artistic production. His dedication to his craft, his role as a teacher, and his engagement with his community paint a picture of an artist deeply embedded in the fabric of his society. His legacy endures in the paintings that have survived, offering a window into the world he inhabited and depicted with skill and care.
Conclusion
Arthur Armstrong stands as a noteworthy figure in the annals of 19th-century American regional art. Over his three-decade career, centered primarily in Lancaster County, Pennsylvania, he produced a body of work that, while perhaps modest in comparison to the output of national luminaries, holds significant artistic and historical value. As a portraitist, he captured the likenesses of his fellow Pennsylvanians with a characteristic attention to detail and a straightforward realism that appealed to his clientele. His ventures into landscape, still life, and other genres further demonstrate his versatility and artistic ambition.
Influenced by mentors like Jacob Eicholtz and possibly Thomas Sully, Armstrong developed a mature style that, particularly in the 1840s, showed considerable refinement. His role as an art teacher, nurturing talents like John Jay Libhart, and his active participation in community life, such as his service to the Mechanics Society, underscore his importance within his local sphere.
While the art world of his time was increasingly dominated by trends emanating from larger cities and by artists with broader exposure, Arthur Armstrong's career exemplifies the dedicated provincial artist who diligently honed his craft and served the artistic needs of his community. His paintings remain a valuable part of Pennsylvania's cultural heritage, offering enduring insights into the people, places, and aesthetic sensibilities of his era. His life and work remind us of the rich tapestry of American art, woven not only by its most famous names but also by the many skilled regional artists who contributed to its diverse and evolving character.
