Cosmo Alexander (1724-1772) stands as a fascinating, if sometimes overlooked, figure in eighteenth-century art. A Scottish portrait painter whose life was inextricably linked with the Jacobite cause, Alexander's career spanned Scotland, Italy, France, England, and the American colonies. His work not only reflects the artistic conventions of his time but also offers a window into the political and social networks of the Jacobite diaspora and the burgeoning colonial society in America. His influence, particularly as a mentor to the celebrated American painter Gilbert Stuart, further cements his place in the annals of art history.
Early Life and Jacobite Roots
Born in Aberdeen, Scotland, in 1724, Cosmo Alexander was immersed in an artistic and politically charged environment from a young age. He was the son of John Alexander (c. 1686–c. 1766), himself a painter of portraits and historical subjects, and a devout Roman Catholic with strong Jacobite sympathies. John Alexander had studied in London under John Baptist Medina and later spent considerable time in Rome, where he associated with the exiled Stuart court. This familial background undoubtedly shaped young Cosmo's artistic inclinations and his unwavering loyalty to the Stuart claim to the British throne.
The Alexander family was part of a lineage of artists in northeastern Scotland, with connections to George Jamesone (c. 1587–1644), often dubbed the "Scottish Van Dyck," who was a prominent portraitist a century earlier. This artistic heritage provided a foundation for Cosmo's training, likely beginning under his father's tutelage. Aberdeen at this time, while not a major artistic center like London or Edinburgh, possessed a community that valued portraiture, often commissioned by local gentry and professional classes.
The political climate of Scotland during Alexander's formative years was tense. The Act of Union in 1707 had been met with resistance, and Jacobitism – the movement to restore the Stuart dynasty – remained a potent force, particularly in the Highlands and among Scottish Episcopalians and Catholics. This allegiance was more than mere sentiment; it was a deeply held conviction that would define much of Cosmo Alexander's life and career trajectory.
The '45 Rising and Exile in Rome
The pivotal event of Alexander's early adulthood was the Jacobite Rising of 1745, led by Prince Charles Edward Stuart, famously known as "Bonnie Prince Charlie" or the "Young Pretender." Cosmo Alexander, then a young man of twenty-one, actively participated in the uprising. Following the decisive defeat of the Jacobite forces at the Battle of Culloden in April 1746, Alexander, like many other participants, faced persecution and was forced to flee Scotland to avoid arrest and potential execution.
His destination was Rome, a natural refuge for exiled Jacobites. The city was home to James Francis Edward Stuart (the "Old Pretender"), Bonnie Prince Charlie's father, who maintained a court-in-exile. For an artist like Alexander, Rome offered not only safety but also unparalleled opportunities for artistic study. He could immerse himself in the works of the Italian masters, from Renaissance giants like Raphael and Michelangelo to Baroque luminaries such as Caravaggio and Carracci. Contemporary Roman artists like Pompeo Batoni, a leading portraitist, and Giovanni Battista Piranesi, famed for his etchings of Roman antiquities, were active during this period, creating a vibrant artistic milieu.
During his time in Rome, which lasted for several years, Alexander continued to paint, primarily portraits of fellow exiled Jacobites. These works served not only as artistic endeavors but also as affirmations of political loyalty and as mementos for a displaced community. He is known to have painted portraits of Bonnie Prince Charlie himself, capturing the romantic and tragic aura that surrounded the defeated prince. These portraits, often small and easily transportable, played a role in maintaining the visual culture of the Jacobite cause. His style during this period would have been influenced by the prevailing Rococo and early Neoclassical trends he encountered in Italy.
Travels in Italy and France
Around 1747, Alexander embarked on further travels within Italy and extended his sojourn into France. This period allowed him to broaden his artistic horizons and connect with other Jacobite sympathizers and patrons across continental Europe. In France, he would have encountered a sophisticated portrait tradition, exemplified by artists like Jean-Marc Nattier and Maurice Quentin de La Tour, whose elegant and often flattering depictions of the aristocracy were highly fashionable.
His movements during these years were characteristic of an artist seeking both patronage and further refinement of his skills. The network of Jacobite exiles was extensive, and an artist with Alexander's credentials and loyalties would have found a receptive audience. The portraits he produced during this time continued to reflect his commitment to the Stuart cause, often imbued with a sense of melancholy or quiet dignity appropriate to their subjects' circumstances. He honed his ability to capture a likeness while also conveying status and personality, essential skills for a successful portraitist.
London and the Incorporated Society of Artists
By 1754, the immediate dangers following Culloden had somewhat subsided, and Alexander felt it safe enough to settle in London. This move marked a significant new chapter in his career. London was the undisputed center of the British art world, boasting a competitive and dynamic environment. Here, he befriended the prominent Scottish architect James Gibbs, who was also his godfather. Gibbs, a successful architect known for works like St Martin-in-the-Fields, was a significant figure, and his patronage and friendship would have been invaluable to Alexander in establishing himself in the capital. Upon Gibbs's death in 1754, Alexander inherited his house in London, providing him with a stable base.
In London, Alexander would have been aware of the leading portrait painters of the day. His fellow Scot, Allan Ramsay, was already well-established and a favorite of the court. Joshua Reynolds was rapidly ascending, soon to become the dominant figure in British portraiture and the first president of the Royal Academy (founded in 1768). Thomas Gainsborough was also making his mark with his distinctive, fluid style. Alexander's own style, characterized by a certain delicacy and sometimes a more muted palette, would have found its niche within this diverse artistic landscape.
In 1765, Alexander became a member of the Incorporated Society of Artists. This society, founded in 1761, was a precursor to the Royal Academy and provided artists with a platform to exhibit their work and assert their professional status. Membership signified a degree of recognition within the London art community. He exhibited with the Society, showcasing his portraits to a wider audience.
The American Venture: Philadelphia and Newport
In a somewhat surprising move, Cosmo Alexander decided to travel to the American colonies in 1766. His primary destination was Philadelphia, then the largest city in British North America and a thriving cultural center. His motivation appears to have been to paint portraits for the significant Scottish and Scots-Irish communities in the colonies. Many of these individuals and families maintained connections to the "old country" and would have appreciated an artist with Alexander's background.
In America, the demand for portraiture was growing among the affluent merchant class and colonial officials. Native-born artists like John Singleton Copley in Boston and, slightly earlier, Robert Feke, were already active, as was John Wollaston, an English painter who had a successful itinerant career in the colonies. John Smibert, another Scot, had arrived in Newport, Rhode Island, decades earlier with Bishop Berkeley and had a significant impact on early American painting. Alexander's arrival added another skilled European-trained artist to this developing scene.
He worked in Philadelphia for a period before moving to Newport, Rhode Island, a bustling port town with a wealthy merchant elite. It was here, around 1769, that one of the most significant encounters of his career occurred: he met a talented young aspiring painter named Gilbert Stuart. Alexander took Stuart under his wing, providing him with his first formal artistic instruction. This mentorship would prove crucial for Stuart, who would later become one of America's foremost portraitists, famed for his iconic depictions of George Washington.
In 1768, Alexander was invited to work at the home of William Franklin, the Royal Governor of New Jersey and son of Benjamin Franklin, in Burlington. This commission indicates his growing reputation among prominent colonial figures. His American portraits, while perhaps not as numerous as those from his European or British periods, are important for understanding the transatlantic nature of his career and his role in the colonial art world.
Artistic Style and Representative Works
Cosmo Alexander's artistic style is generally characterized by a refined, somewhat delicate approach to portraiture. Art historians have noted his "fine shading" and sometimes "indistinct portrayal of figures," which could lend a certain softness or atmospheric quality to his work. This contrasts with the more robust or sharply defined realism of some of his contemporaries. His palette was often subtle, and he paid careful attention to the rendering of fabrics and accessories, details that conveyed the sitter's status.
Among his representative works, the Portrait of James Francis Edward Stuart (the "Old Pretender") is significant, not only for its subject but also as an example of his Jacobite portraiture. These works often carried symbolic weight, representing the enduring hope for a Stuart restoration.
Another notable piece is Madame Morehead with a Page (1749). This painting, likely from his time in continental Europe, showcases his skill in composing a more elaborate scene, with attention to the richness of costume and the interaction between the figures. The depiction of the page adds an element of aristocratic grandeur typical of the era.
His portraits of Lord Findlater and his wife (1756), painted after his return to Britain, demonstrate his mature style. These works would have aimed to capture not only a likeness but also the dignity and social standing of the sitters. The "indistinct portrayal" mentioned by critics might refer to a less incisive psychological penetration compared to, say, Reynolds, but a pleasing and elegant representation nonetheless.
Alexander's oeuvre also reportedly included landscapes and still lifes, though he is primarily known for his portraits. This versatility, common among artists of the period, allowed him to explore different genres, although portraiture remained his main source of income and recognition. His style was undoubtedly influenced by his father, John Alexander, and the broader Scottish tradition, as well as by the Italian and French art he encountered during his years abroad.
Mentorship of Gilbert Stuart
Perhaps one of Cosmo Alexander's most enduring legacies was his mentorship of Gilbert Stuart (1755-1828). When Alexander arrived in Newport, Rhode Island, Stuart was a teenager showing remarkable artistic promise but lacking formal training. Alexander recognized his talent and took him on as a pupil and assistant.
Under Alexander's guidance, Stuart learned the fundamentals of portrait painting, including drawing, mixing colors, and applying paint. Stuart's early work, such as the charming painting Dr. Hunter’s Spaniels (c. 1769), was created during this period of tutelage and shows the influence of his teacher. Alexander provided Stuart with a direct link to European artistic traditions and techniques.
This master-apprentice relationship was evidently close. When Alexander decided to return to Scotland in 1771, Gilbert Stuart accompanied him, hoping to continue his studies abroad. This journey was a significant step for the young American, offering him the prospect of exposure to the richer artistic environment of Europe. The decision underscores the impact Alexander had on Stuart and the latter's ambition.
Connections with Other Artists and Patrons
Throughout his career, Cosmo Alexander navigated a complex web of artistic and social connections. His father, John Alexander, provided his initial entry into the art world. His godfather and friend, the architect James Gibbs, offered crucial support in London. Sir George Chalmers, 1st Baronet of Cults, another Scottish painter who also spent time in Italy and America, was a contemporary and friend who eventually inherited Alexander's property in 1774, after Alexander's death.
In Rome, he would have interacted with other expatriate artists and Jacobite sympathizers. Figures like Antonio David and Francesco Trevisani were known for their portraits of the Stuart court. While direct collaborative evidence is scarce, the shared political and artistic environment would have fostered connections.
In London, his membership in the Incorporated Society of Artists placed him in contact with a wide range of British painters. He would have known of, if not personally interacted with, many of the leading figures, from Allan Ramsay and Joshua Reynolds to lesser-known but competent portraitists.
In America, his patrons included figures like William Franklin. His interaction with the colonial art scene, though relatively brief, connected him to the lineage of artists working there, from earlier figures like John Smibert to contemporaries like John Singleton Copley and the rising generation that included Charles Willson Peale and, of course, his own student, Gilbert Stuart. The art world of the 18th century was relatively small, and artists often knew each other or were aware of each other's work through exhibitions, prints, and word of mouth.
Controversies and Anecdotes
Cosmo Alexander's life, marked by political upheaval and extensive travel, naturally lends itself to a degree of intrigue. His active involvement in the Jacobite Rising and subsequent exile made him a wanted man for a time, forcing him to live and work under a degree of caution, especially in the years immediately following Culloden. The creation of small, easily concealed portraits of Jacobite figures during this period can be seen as part of this clandestine existence.
Art historical scholarship sometimes involves debates over attribution, and Alexander's work has not been immune. For instance, the authorship of a portrait titled Alasdair Ruadh MacDonnell, 13th Chief of Glengarry, a significant Jacobite figure, has been discussed. While sometimes attributed to Alexander, some scholars suggest it might be the work of, or a collaboration with, another Scottish artist such as William Mosman, who was also active in portraiture in the north-east of Scotland. Such debates are common where documentation is incomplete and stylistic similarities exist between contemporary artists.
The story of his taking Gilbert Stuart back to Scotland is a notable anecdote. It speaks to Alexander's generosity or perhaps his recognition of exceptional talent. However, this chapter was cut short by Alexander's untimely death.
Final Years and Legacy
In 1771, Cosmo Alexander returned to his native Scotland, accompanied by the young Gilbert Stuart. His health, however, was reportedly declining. He settled in Edinburgh, the Scottish capital, but his time there was brief. Cosmo Alexander died in Edinburgh on August 25, 1772, at the relatively young age of 48.
His death left Gilbert Stuart in a precarious position in a foreign land, but Stuart persevered, eventually making his way to London to study under Benjamin West, another American expatriate who had become a leading historical painter in Britain. Stuart would go on to achieve great fame.
Cosmo Alexander's legacy is multifaceted. As a painter, he produced a body of work that, while perhaps not reaching the heights of a Reynolds or Gainsborough, represents a competent and often elegant contribution to 18th-century portraiture. His style reflects a blend of Scottish, Italian, and broader British influences.
He holds a distinct place as a "Jacobite artist," one whose career was shaped by his political allegiances. His portraits of exiled Stuarts and their supporters are valuable historical documents as much as artistic creations.
Furthermore, his career as an itinerant artist, moving between Scotland, continental Europe, England, and the American colonies, highlights the increasingly interconnected nature of the Atlantic world in the 18th century. He was one of several Scottish artists who sought opportunities abroad, contributing to the dissemination of artistic styles and practices.
Critically, his role in the early development of Gilbert Stuart is a significant part of his legacy. By providing Stuart with his initial training and encouragement, Alexander played an indirect but important part in the flourishing of American art. He is also seen as one of the Scottish painters, alongside figures like his father John Alexander, William Aikman, and Allan Ramsay, who laid the groundwork for the later flourishing of Scottish portraiture with artists like Sir Henry Raeburn.
Conclusion
Cosmo Alexander's life and work offer a compelling narrative of an artist navigating the turbulent currents of the 18th century. From the battlefields of the Jacobite Rising to the salons of Rome and London, and onward to the burgeoning societies of colonial America, Alexander carried his artistic skills and his political convictions. While he may not be as widely celebrated as some of his contemporaries, his contributions as a portraitist, his unwavering Jacobite loyalty, his transatlantic career, and his crucial mentorship of Gilbert Stuart secure him a unique and noteworthy position in the history of art. He remains a testament to the enduring power of art to reflect and shape the personal and political landscapes of its time.
