Nicholas Winfield Scott Leighton, known professionally as Scott Leighton, stands as a significant figure in late 19th-century American art. Active primarily during the post-Civil War era until his death near the turn of the century (1849-1898), Leighton carved a distinct niche for himself as a premier painter of animals, with a particular and enduring focus on the celebrated trotting horses of his time. While initially trained in landscape painting, his passion and talent led him to specialize in equine portraiture, capturing the power, speed, and spirit of America's beloved trotters. His collaboration with the popular printmaking firm Currier & Ives ensured his work reached a wide audience, cementing his legacy within both fine art and popular visual culture.
Early Life and Artistic Beginnings
Born in Auburn, Maine, in 1849, Nicholas Winfield Scott Leighton grew up in a region and era where horses played a vital role in daily life, transportation, and increasingly, in sport. While detailed records of his earliest artistic training are somewhat scarce compared to some contemporaries, it is understood that his initial instruction centered on landscape painting, a dominant genre in American art during the mid-19th century, heavily influenced by the Hudson River School painters like Albert Bierstadt and Frederic Edwin Church.
However, Leighton's true calling lay elsewhere. He demonstrated a remarkable aptitude and affinity for depicting animals. This shift from landscape to fauna, particularly horses, became the defining characteristic of his career. It's unclear precisely what prompted this transition, whether it was personal passion, market demand, or the influence of specific mentors, but his dedication to animal subjects, especially the horse, became absolute. His focus and skill eventually earned him comparisons to the renowned British animal painter Sir Edwin Landseer, leading some to dub Leighton the "American Landseer," a testament to his perceived mastery in the field.
The Reign of the Trotter
To fully appreciate Scott Leighton's work, one must understand the cultural phenomenon of harness racing, or trotting, in 19th-century America. Following the Civil War, trotting races surged in popularity, becoming a major spectator sport and a subject of intense public interest. Owning and racing fast trotters was a mark of status, and legendary horses became national celebrities, their names known far and wide. Newspapers avidly reported race results, and the public followed the careers of champion horses like Goldsmith Maid, Dexter, Maud S., and Smuggler with fervent enthusiasm.
This cultural obsession created a strong market for accurate and spirited depictions of these equine stars. Wealthy owners commissioned portraits of their prized animals, and the general public eagerly consumed affordable prints celebrating famous trotters and thrilling races. Scott Leighton stepped into this milieu perfectly equipped with the talent to meet this demand. His ability to capture not just the likeness but also the distinctive gait and competitive spirit of these animals made his work highly sought after.
Leighton didn't just paint generic horses; he painted specific, famous individuals. His portraits often included the horse's name, its owner, and sometimes its record time, functioning as both art and documentation. He understood the anatomy of the Standardbred trotter, the breed specifically developed for harness racing, and depicted the unique high-stepping action and the specialized equipment – the sulky, the harness – with meticulous accuracy. This attention to detail resonated deeply with knowledgeable enthusiasts of the sport.
Collaboration with Currier & Ives
Perhaps the most significant factor in the dissemination and lasting fame of Scott Leighton's work was his collaboration with the New York City-based printmaking firm Currier & Ives. Operating under the banner "The Grand Central Depot for Cheap and Popular Prints," Nathaniel Currier and James Merritt Ives built an empire producing affordable lithographs on nearly every aspect of American life. Their subjects ranged from disasters and historical events to sentimental scenes, political cartoons, and, crucially for Leighton, sporting prints.
Leighton became one of Currier & Ives's most valued artists specializing in trotting horses. He created the original paintings or drawings which the firm's skilled lithographers, potentially including artists like Louis Maurer or John Cameron who also worked extensively for the firm, would meticulously translate onto lithographic stones. From these stones, numerous black-and-white prints could be pulled. Many of these prints were then hand-colored, often by teams of women working in an assembly-line fashion, adding vibrancy and appeal.
Through Currier & Ives, Leighton's images of champion trotters became accessible to a vast audience beyond the wealthy elite who might commission an original oil painting. People could purchase prints of their favorite horses to hang in their homes, offices, or local taverns. Leighton is credited with providing the original artwork for over thirty trotting prints published by Currier & Ives, a substantial contribution to their catalogue.
Notable Works and Style
Among Scott Leighton's most famous works, particularly those produced through Currier & Ives, are his portraits of celebrated trotters. Prints like Hopeful, Maud S. (often depicted setting a record), Smuggler, and the dynamic double portrait Edward & Swiveller are iconic examples of his work in this genre. These prints typically feature the horse in its characteristic trotting pose, often pulling a driver in a sulky, set against a simplified landscape or racetrack background that keeps the focus firmly on the equine subject.
One particularly well-known and dramatic print after Leighton is The Fiend of the Road (1881). This lithograph captures the excitement and perhaps the perceived danger of early automobiles startling a horse-drawn carriage, showcasing Leighton's ability to depict animals in moments of high action and emotion. While primarily known for trotters, this indicates a broader capability in portraying equine subjects in various contexts.
Leighton's style is characterized by a strong sense of realism and anatomical accuracy. He paid close attention to the musculature, coat texture, and conformation of the horses he painted. His depictions convey a sense of energy and controlled power, capturing the specific high-stepping gait of the trotter. While his landscape backgrounds were often secondary, serving primarily as a setting, his rendering of the horses themselves was detailed and precise. He excelled at capturing the sheen of a well-groomed coat, the intricate details of the harness, and the focused expression of both horse and driver. His work provided a visual record of these magnificent animals that photography, still in its relative infancy regarding capturing high speed, could not yet match.
Contemporaries and Influence
Scott Leighton worked during a vibrant period in American art. While his specialization set him apart, he operated within a broader artistic landscape. His initial landscape training connected him conceptually to the traditions of the Hudson River School. His focus on animal subjects placed him in a lineage that included earlier American horse painters like Edward Troye, whose work documented thoroughbreds primarily in the antebellum South.
Within the specific world of equine art, Henry Stull was another prominent contemporary who gained fame painting racehorses, though often focusing more on Thoroughbred flat racing later in the century. Leighton's work, particularly through Currier & Ives, also existed alongside other sporting art produced by the firm, such as the hunting and wilderness scenes by Arthur Fitzwilliam Tait, another key artist for the printmakers. The firm also employed talented artists like Frances Flora Bond Palmer (often known as Fanny Palmer), who created a vast and diverse range of images, and marine specialists like James E. Buttersworth, known for his dynamic yachting scenes.
Leighton's influence can be seen directly in the work of artists he may have mentored or inspired. Records indicate that the Maine artist Delbert Dana Coombs studied animal painting specifically with Scott Leighton, demonstrating Leighton's recognized expertise and willingness to share his knowledge. While perhaps not founding a major "school" of painting, his success and visibility undoubtedly encouraged other artists with an interest in animal subjects. His work can also be compared to European animal painters beyond Landseer, such as the celebrated French artist Rosa Bonheur, who also achieved international fame for her realistic and powerful depictions of animals, including horses.
Exhibitions and Recognition
Despite the popular nature of his work through prints, Scott Leighton also sought recognition within the established fine art institutions of his day. His paintings were exhibited at the prestigious National Academy of Design in New York City on multiple occasions, specifically noted in the years 1883, 1886, and 1887. Inclusion in these annual exhibitions was a significant mark of professional achievement and validation by the art establishment.
Furthermore, Leighton's work transcended the realm of popular prints and private commissions to enter public collections. His paintings and prints are held by respected institutions such as the Brooklyn Museum in New York City and The Clark Art Institute (formerly the Francine Clark Art Institute) in Williamstown, Massachusetts. The presence of his work in these museum collections underscores its artistic merit and historical significance, ensuring its preservation and accessibility for future generations. This recognition confirms that Leighton was viewed not merely as an illustrator for a print firm, but as a skilled painter in his own right.
Legacy and Conclusion
Scott Leighton died in 1898, relatively young at the age of 49. His career, though spanning only a few decades, left an indelible mark on American art, particularly in the specialized field of equine portraiture. His legacy is twofold. Firstly, he created a vital visual record of the golden age of American trotting, capturing the likenesses and spirit of the champion horses that captivated the nation. His paintings and the widely distributed Currier & Ives prints after his work serve as important historical documents of this popular sport and the specific animals that defined it.
Secondly, Leighton demonstrated considerable skill as an animal painter. His "American Landseer" moniker, while perhaps informal, points to the high regard in which his technical abilities were held. He combined anatomical accuracy with a sense of vitality, elevating animal portraiture beyond mere illustration. His focus on specific, identifiable animals resonated with owners and the public alike, contributing to the celebrity status of these trotters.
Through his prolific output, especially his collaboration with Currier & Ives, Scott Leighton brought images of speed, competition, and equine beauty into countless American homes. He captured a unique aspect of American culture at a time of significant national growth and change. While the era of the trotter as the dominant symbol of speed has passed, Scott Leighton's work endures as a testament to these magnificent animals and to the artist who so skillfully brought them to life on canvas and paper. His paintings and prints continue to be sought after by collectors of sporting art, American prints, and fine art, securing his place as a master painter of the American trotter.
