Thomas Hicks (1823-1890) stands as a significant figure in nineteenth-century American art, primarily celebrated for his insightful and skillfully rendered portraits of many of the era's most prominent personalities. While perhaps not as universally recognized today as some of his landscape-painting contemporaries, Hicks carved out a successful career, capturing the likenesses and, often, the characters of statesmen, writers, artists, and society figures. His work provides a valuable visual record of American society during a period of profound transformation, and his artistic journey reflects the broader trends and academic influences prevalent in American art of his time.
Early Life and Artistic Inclinations
Born on October 18, 1823, in Newtown, Bucks County, Pennsylvania, Thomas Hicks emerged from a family with notable artistic lineage. He was the younger cousin of the renowned Quaker folk painter Edward Hicks (1780-1849), famous for his numerous versions of "The Peaceable Kingdom." This familial connection undoubtedly provided an early exposure to the world of art, though their styles and artistic paths would diverge significantly. Edward Hicks, largely self-taught, worked in a distinctive naive style, imbued with his deep religious convictions. Thomas, on the other hand, would pursue a more formal, academic artistic education.
His precocious talent was evident from a young age. Recognizing his potential, Hicks was encouraged to develop his skills. He initially sought instruction closer to home, reportedly receiving some early guidance from his cousin Edward. However, his ambitions soon led him to Philadelphia, then a major center for arts and culture in the United States. There, he enrolled at the prestigious Pennsylvania Academy of the Fine Arts, one of America's oldest and most respected art institutions. This period would have exposed him to classical casts, life drawing, and the works of established European and American masters, laying a foundational understanding of anatomy, composition, and technique.
New York and the National Academy of Design
Seeking further refinement and broader opportunities, Thomas Hicks moved to New York City around 1838. In New York, he continued his studies at the National Academy of Design. The National Academy, founded in 1825 by artists like Samuel F.B. Morse, Thomas Cole, and Asher B. Durand, was a vital institution for aspiring American artists. It not only provided instruction but also held annual exhibitions that were crucial for gaining recognition and patronage. Hicks's association with the Academy was formative, placing him within a vibrant community of artists and exposing him to the prevailing artistic currents of the day.
During his time at the National Academy, he would have honed his skills in drawing and painting, likely focusing on the academic principles that emphasized verisimilitude and careful execution. He began to exhibit his work, and by 1841, he was elected an Associate of the National Academy (ANA), a testament to his growing abilities and recognition among his peers. This early success in New York set the stage for the next crucial phase of his artistic development: study abroad.
The European Sojourn: Broadening Horizons
Like many ambitious American artists of his generation, Thomas Hicks understood the importance of European study to achieve mastery and gain credibility. In 1845, he embarked on a journey to Europe, a pilgrimage that would last approximately four years and significantly shape his artistic vision and technique. His first major stop was London, where he would have had the opportunity to study the works of British masters such as Sir Joshua Reynolds, Thomas Gainsborough, and Sir Thomas Lawrence, whose elegant portraiture was highly influential.
From London, Hicks traveled to Paris, the undisputed epicenter of the art world in the mid-nineteenth century. In Paris, he entered the atelier of Thomas Couture (1815-1879), a highly respected academic painter and influential teacher. Couture's studio was a magnet for international students, including other Americans like William Morris Hunt. Couture emphasized strong draftsmanship, a rich, often somber palette, and the importance of capturing the essence of the subject. His most famous work, "Romans of the Decadence" (1847), showcased his technical prowess and his ability to handle complex multi-figure compositions. Studying under Couture provided Hicks with rigorous training in the French academic tradition.
After his time in Paris, Hicks continued his European education in Italy, spending time in Florence and Rome. Italy offered the invaluable experience of studying Renaissance and Baroque masterpieces firsthand. The works of artists like Raphael, Michelangelo, Titian, and Caravaggio provided profound lessons in composition, color, light, and anatomical representation. This immersion in the classical tradition and the art of the Old Masters further refined his skills and broadened his artistic vocabulary. He returned to the United States in 1849, equipped with a sophisticated European training that would serve him well in his subsequent career.
A Celebrated Portrait Painter in New York
Upon his return to New York City in 1849, Thomas Hicks quickly established himself as a leading portrait painter. His European training, combined with his natural talent, set him apart. He was elected a full Academician of the National Academy of Design (NA) in 1851, a significant honor that solidified his standing in the American art community. His studio became a sought-after destination for those wishing to have their likenesses preserved for posterity.
Hicks developed a reputation for producing portraits that were not only accurate representations but also conveyed a sense of the sitter's personality and social standing. His style was characterized by its realism, solid draftsmanship, and often a dignified, thoughtful portrayal of his subjects. He painted a veritable who's who of mid-19th century America. Among his most notable sitters were President Abraham Lincoln. His portrait of Lincoln, painted in Springfield, Illinois, in June 1860, just after Lincoln received the Republican nomination for president, is considered one of the earliest painted portraits of the future president and holds significant historical importance. It captures Lincoln before the immense burdens of the presidency and the Civil War etched themselves onto his features.
Other distinguished individuals who sat for Hicks include the poet Henry Wadsworth Longfellow, whose works were immensely popular in both America and Europe. He also painted William Cullen Bryant, another celebrated poet and the influential editor of the New-York Evening Post. His sitters also included the renowned physician and writer Oliver Wendell Holmes Sr., the abolitionist author Harriet Beecher Stowe, famous for "Uncle Tom's Cabin," and the acclaimed actor Edwin Booth, brother of John Wilkes Booth. These commissions underscore Hicks's position within the cultural and intellectual elite of his time.
Representative Works and Artistic Style
One of Hicks's well-regarded portraits is that of Bayard Taylor (1855), the American poet, literary critic, travel writer, and diplomat. This painting, now in the collection of the National Portrait Gallery, Smithsonian Institution, Washington D.C., depicts Taylor in an exotic, Eastern-inspired setting, reflecting Taylor's extensive travels and writings about the Orient. The rich colors, attention to detail in the costume, and the contemplative pose of the sitter are characteristic of Hicks's mature portrait style. It showcases his ability to not only capture a likeness but also to allude to the sitter's life and achievements.
Another significant work is his portrait of the artist Sanford Robinson Gifford (circa 1850s-1860s). Gifford (1823-1880) was a prominent member of the second generation of the Hudson River School, known for his luminous landscapes and mastery of light and atmosphere. Hicks's portrait of his fellow artist would have been a work of mutual respect, capturing a key figure in the American art scene. This connection highlights Hicks's place within the artistic fraternity of New York.
While portraiture was his mainstay, Hicks also produced genre scenes – paintings depicting everyday life – and occasional landscapes. These works, though less numerous than his portraits, demonstrate his versatility. His genre paintings often possessed a narrative quality and reflected contemporary social customs or sentimental themes popular during the Victorian era. His style remained grounded in realism, with careful attention to detail, texture, and the play of light. His palette was generally rich but controlled, avoiding overly flamboyant coloration, which lent a sense of sobriety and dignity to his subjects.
Connection to the Hudson River School and Contemporaries
Thomas Hicks operated within an artistic milieu dominated by the Hudson River School, America's first true school of landscape painting. While Hicks was primarily a portraitist, he was well-acquainted with many leading figures of this movement. Artists such as Asher B. Durand (1796-1886), a key figure in the Hudson River School and former president of the National Academy of Design, Frederic Edwin Church (1826-1900), known for his grand, panoramic landscapes of North and South America, and Albert Bierstadt (1830-1902), famed for his dramatic depictions of the American West, were his contemporaries.
His portrait of Sanford Robinson Gifford directly links him to this school. Other Hudson River School painters active during Hicks's career include John Frederick Kensett (1816-1872), celebrated for his serene coastal scenes and tranquil landscapes, often associated with Luminism, and Jasper Francis Cropsey (1823-1900), renowned for his vibrant autumnal landscapes. While Hicks's subject matter differed, he shared with these artists a commitment to truthful representation and a desire to contribute to a distinctly American artistic identity. His portraits documented the people who were shaping the nation, while the landscape painters documented its natural grandeur.
Beyond the Hudson River School, Hicks's contemporaries included other notable portrait and genre painters. George Peter Alexander Healy (1813-1894) was another highly successful American portraitist who also spent considerable time in Europe and painted many prominent figures. Eastman Johnson (1824-1906), known as the "American Rembrandt," excelled in both portraiture and genre scenes, particularly those depicting rural American life and, later, poignant images of African Americans. Daniel Huntington (1786-1879), who served multiple terms as President of the National Academy of Design, was a prolific painter of portraits, historical scenes, and landscapes. These artists, along with Hicks, formed the backbone of the American art establishment in the mid-to-late 19th century. Even European figures like Jean-Léon Gérôme (1824-1904), a fellow student under Couture, or the highly successful academic painter William-Adolphe Bouguereau (1825-1905), represent the broader academic tradition that influenced Hicks and many of his American peers.
Later Career and Legacy
Thomas Hicks maintained a successful practice for many decades. He continued to exhibit at the National Academy of Design and other venues, and his portraits were sought after by a discerning clientele. He resided for a time at "Thornwood," his estate in Trenton Falls, New York, a scenic area popular with artists and tourists, which may have inspired some of his landscape work.
His artistic approach, rooted in the academic tradition, remained consistent throughout his career. While new artistic movements like Impressionism began to emerge in Europe and eventually take root in America towards the end of his life, Hicks remained committed to the principles of realism and meticulous craftsmanship that had defined his work.
Thomas Hicks passed away on October 8, 1890, at his home in Trenton Falls, just shy of his 67th birthday. His death marked the passing of a respected and accomplished artist who had made a significant contribution to American portraiture. His works are held in the collections of major American museums, including the National Portrait Gallery, the Metropolitan Museum of Art, the Pennsylvania Academy of the Fine Arts, and the New-York Historical Society.
In the broader narrative of American art history, Thomas Hicks is remembered as a skilled and reliable portraitist who captured the likenesses of many of the leading figures of his day. His paintings serve as important historical documents, offering insights into the personalities and social fabric of 19th-century America. While the dramatic landscapes of the Hudson River School or the later innovations of American Impressionists might overshadow the more traditional genre of portraiture in popular imagination, the contributions of artists like Thomas Hicks are vital for a complete understanding of the nation's artistic and cultural development. He, along with artists like Charles Loring Elliott (1812-1868), another prominent New York portraitist, and Henry Inman (1801-1846), who was a generation older but whose portraiture set a high standard, helped define American portrait painting in the 19th century.
Conclusion: An Enduring Record
Thomas Hicks's career spanned a dynamic period in American history, from the antebellum years through the Civil War and into the Gilded Age. His portraits provide a visual chronicle of this era, reflecting not only the physical appearance of his sitters but also the values and aspirations of his time. His dedication to his craft, his European training, and his ability to connect with and represent the prominent individuals who shaped American society secure his place as a noteworthy figure in the history of American art. While he may not have been an innovator in the mold of avant-garde artists, his consistent quality and the historical significance of his subjects ensure that his work remains relevant and studied by art historians and those interested in 19th-century American culture. His legacy is that of a consummate professional, a chronicler of faces and personalities, whose canvases continue to speak to us from a pivotal American past.
