Zedekiah Belknap stands as a notable figure in the landscape of early American art, particularly within the tradition of itinerant portraiture that flourished in New England during the late 18th and early 19th centuries. His work offers a valuable window into the lives, aspirations, and aesthetic preferences of the burgeoning American middle class of his time. As an art historian, exploring Belknap's contributions allows us to appreciate not only his individual talent but also the broader cultural currents that shaped American folk art.
Early Life and Formative Influences
Zedekiah Belknap was born in 1781 in Auburn, Massachusetts, near the town of Worcester. His formative years were spent in Weathersfield, Vermont, a region that, like much of New England, was developing its own distinct cultural identity in the post-Revolutionary era. This upbringing in a relatively rural yet intellectually vibrant part of the country likely exposed him to the practical, self-reliant ethos that often characterized folk artists.
A significant aspect of Belknap's early life was his education. He graduated from Dartmouth College in Hanover, New Hampshire, in 1807. While Dartmouth was not an art academy, a classical education would have provided him with a breadth of knowledge and potentially an appreciation for the arts and humanities. It's plausible that his time at Dartmouth, and the connections made there, may have influenced his decision to pursue a career that, while not scholarly in the traditional sense, required keen observation and an ability to connect with a diverse clientele. Following his graduation, Belknap embarked on his career as an artist, choosing the demanding yet often rewarding path of an itinerant portrait painter.
The Life of an Itinerant Artist
The role of the itinerant artist was crucial in early America, especially in regions outside major urban centers where established art studios were scarce. These traveling painters, like Belknap, moved from town to town, offering their services to families who wished to have their likenesses preserved. This was a period before the widespread availability of photography, making painted portraits the primary means of capturing an individual's appearance for posterity.
Belknap was particularly active across New England, with his work documented in Vermont, New Hampshire, and his native Massachusetts. He was what was colloquially known as a "face painter" or "limner," terms that described artists who focused on capturing a sitter's countenance, often with less emphasis on anatomical precision or sophisticated academic techniques compared to their European-trained counterparts. The life of an itinerant artist required resilience, adaptability, and good interpersonal skills, as they often relied on local hospitality and word-of-mouth referrals.
Artistic Style and Characteristics
Zedekiah Belknap developed a distinctive and recognizable artistic style. He predominantly painted on wooden panels, a common and practical choice for itinerant artists as panels were durable and relatively inexpensive. His subjects are typically portrayed with a sense of directness and an engaging, often pleasant, demeanor.
A hallmark of Belknap's portraiture is the lively and expressive quality he imparted to his sitters' faces. He is known for depicting figures with large, often wide-set eyes, round or full faces, and distinctively rendered full lips. Ears in his portraits are frequently characterized by a somewhat flat appearance. These stylistic traits contribute to what is often described as a "New England" look, a regional characteristic shared by several folk painters of the era. His figures, while not always anatomically perfect by academic standards, possess a strong presence and a sense of individual personality. The overall impression is one of warmth and accessibility, making his portraits appealing and relatable.
Belknap's palette was often bright, and he paid careful attention to the details of costume and accessories, which provide valuable information about the period's fashions and the social standing of his subjects. While his backgrounds are generally simple, sometimes featuring a plain wash or a subtle drapery, the focus remains firmly on the sitter. This directness and emphasis on character are defining features of much American folk portraiture.
Notable Works and Commissions
Over his career, Zedekiah Belknap produced a significant body of work, primarily portraits of individuals and families. While a comprehensive catalog can be challenging for itinerant artists whose works were often unsigned or dispersed, several key pieces and types of commissions are associated with him.
One of his well-documented commissions includes the portraits of John Foster Stearns and Sarah A. Stearns, painted around 1832. These works exemplify his mature style, capturing the sitters with a dignified yet approachable air. Another important commission involved painting Robert Bayley Thomas, the founder of the Old Farmer's Almanac, and his wife in 1836. Such commissions indicate Belknap's ability to secure patronage from prominent community members.
Belknap was particularly adept at portraying children. His "Portrait of a Child with a Doll" is a charming example, showcasing his ability to capture youthful innocence. This particular work achieved a notable auction price of $30,550, underscoring the art market's appreciation for his skill in this area. Another similar piece, "Portrait of a Girl in a White Dress Holding a Doll and Flowers," further highlights his affinity for youthful subjects. The simple yet evocative "Portrait of a Seated Child Petting a White Rabbit" also demonstrates his capacity to create endearing and memorable images.
His portraits of adults, such as an unidentified "Portrait of a Young Woman," which sold for ,600 (exceeding its estimate), and a "Portrait of a Gentleman in His Thirties" (noted for its lemon gold frame), showcase his consistent ability to render pleasing likenesses that satisfied his clientele. These auction results reflect a sustained interest in Belknap's work among collectors of American folk art.
The Context of American Folk Art in the 19th Century
To fully appreciate Zedekiah Belknap, it's essential to understand the broader context of American folk art in the 19th century. This era saw a flourishing of self-taught or minimally trained artists who catered to a growing middle class eager for art that reflected their lives and values. Unlike the academic art traditions prevalent in Europe and in major American cities like Philadelphia or Boston (where artists like Gilbert Stuart or Thomas Sully worked), folk art was characterized by its directness, decorative qualities, and often a departure from strict naturalism.
Folk artists like Belknap filled a vital niche. They provided affordable and accessible art to communities that might not have had access to academically trained painters. Their work often emphasized pattern, color, and a strong sense of design over anatomical precision or complex perspectival systems. This "naïve" or "primitive" quality, once viewed as a lack of skill, is now celebrated for its honesty, vigor, and unique aesthetic appeal. The demand for portraits was particularly high, as families sought to commemorate loved ones, celebrate milestones, or simply assert their presence and status within their communities.
Belknap and His Contemporaries
Zedekiah Belknap was part of a vibrant cohort of itinerant and folk portraitists working in New England and beyond. His style shares affinities with, yet remains distinct from, many of his contemporaries.
Ammi Phillips (1788-1865) is perhaps one of the most celebrated American folk portraitists, known for his prolific output and evolving style, from the delicate "Border Limner" phase to the starkly compelling "Kent Limner" portraits. While Phillips's work often exhibits a more austere or haunting quality, particularly in his later periods, both he and Belknap shared a commitment to capturing a strong sense of their sitters' presence.
John Brewster Jr. (1766-1854), a deaf itinerant painter active primarily in New England, created portraits known for their delicate linearity, refined detail, and serene expressions. Brewster's meticulous rendering of lace and costume details finds echoes in Belknap's attention to such elements, though Belknap's figures often possess a more robust and rounded quality.
Ruth Henshaw Bascom (1772-1848), another New England artist, worked primarily in pastels and collage, creating distinctive profile portraits. While her medium and technique differed from Belknap's oil on panel, she, too, served a similar clientele, capturing the likenesses of her friends and neighbors with a charming directness.
Other notable folk portraitists of the general period include Joseph Goodhue Chandler (1813-1884), whose portraits of children are particularly well-regarded for their sensitivity; Samuel Miller (1807-1853), active in Charleston and Boston, known for his detailed and somewhat formal likenesses; and Susan Waters (1823-1900), who later in the century painted charming animal pictures but also earlier portraits.
Further afield, artists like Joshua Johnson (c. 1763-c. 1824), an early African American portraitist working in Baltimore, demonstrated a distinct style characterized by somewhat stiff figures but with keen attention to detail and often brass tacks on furniture. Erastus Salisbury Field (1805-1900), from Massachusetts, began as an itinerant portraitist with a clear, sharp style before later turning to imaginative historical and biblical scenes.
The work of William Matthew Prior (1806-1873), active in Maine and Massachusetts, offers an interesting comparison. Prior famously offered portraits at different price points: "flat" likenesses without shading for a lower price, and more fully modeled portraits for a higher fee. This pragmatic approach was common among itinerant artists. Belknap's work, while consistently modeled, shares the folk artist's directness seen in Prior's output.
Artists like Sheldon Peck (1797-1868), who worked in Vermont before moving west to Illinois, developed a highly stylized approach with bold colors and decorative brushwork, distinct from Belknap's softer modeling but part of the same broad tradition of non-academic portraiture. Joseph H. Davis (active 1832-1837), known for his watercolor profile portraits often featuring distinctive floor coverings and furniture, represents another facet of this diverse artistic milieu.
Comparing Belknap to these and other artists, such as Sturtevant J. Hamblen (1809-1884) or the German-born Jacob Maentel (1778-1863) with his characteristic profile portraits, helps to situate his specific contributions. Belknap's particular strength lay in the consistently pleasant and engaging expressions of his sitters, combined with a recognizable set of facial conventions that mark his hand.
Exhibitions and Continued Recognition
The enduring appeal and art historical significance of Zedekiah Belknap's work are evidenced by its inclusion in museum collections and exhibitions. For instance, his paintings were featured in the 2015 exhibition "American Folk Art, Lovingly Collected" at the Worcester Art Museum in Massachusetts. Such exhibitions play a crucial role in bringing the work of folk artists like Belknap to a wider audience and affirming their place within the canon of American art.
His works also appear in auctions, such as those held by the Gould Auction Company, where an early New Hampshire portrait by him, noted for its lemon gold frame, was offered. The prices achieved for his paintings, as mentioned earlier, indicate a strong and continuing interest from collectors. This market recognition, coupled with scholarly attention, ensures that Belknap's contributions are not forgotten. He is often cited in critical bibliographies of American folk art, such as the "Critical Bibliography of American Folk Art," where he is listed alongside other important figures.
The modern artist Anna Glant has also mentioned Belknap as a reference point, indicating that his work continues to resonate and inspire contemporary creators, highlighting the timeless appeal of his straightforward and heartfelt depictions.
Artistic Techniques and Materials
Belknap's preference for painting on wooden panels was common among itinerant artists. Panels, typically made of pine or poplar, were readily available, relatively inexpensive, and more durable for travel than stretched canvas. The preparation of these panels would have involved sizing and priming to create a suitable surface for oil paints.
His painting technique, while not adhering to academic formulas of chiaroscuro or complex layering, was effective in achieving the desired likeness and expression. He often built up facial features with direct, visible brushstrokes. The "large eyes, round faces, full lips, and flat ears" that characterize his style were consistently applied, suggesting a well-practiced method for achieving a recognizable "Belknap look." This consistency was likely a selling point, as clients would know what to expect from his hand.
The colors he used would have been standard oil pigments available in the early 19th century. His ability to capture the textures of fabrics and the details of clothing, such as lace collars or patterned vests, demonstrates a keen eye and proficient handling of his medium, even if his approach to form was less about anatomical accuracy and more about conveying a general impression and decorative quality.
The Social Role of Belknap's Portraiture
Belknap's portraits served important social functions for his sitters. In an era of burgeoning democracy and increasing social mobility, a portrait could signify a family's stability, respectability, and aspirations. For many, commissioning a portrait was a significant investment, an heirloom to be passed down through generations.
The generally pleasant and composed expressions in Belknap's work likely reflected the sitters' desire to be presented in a favorable light. These were not psychological deep dives in the modern sense, but rather affirmations of identity and social standing. The inclusion of objects like books, dolls, or tools could further signify a sitter's education, domestic role, or profession. Belknap's ability to create these satisfying and affirmative images was key to his success as an itinerant painter. He provided a valuable service, helping to define and preserve the visual identity of individuals and families in a rapidly changing America.
Legacy and Influence
Zedekiah Belknap's legacy lies in the body of work he left behind, which provides a charming and insightful glimpse into early 19th-century New England life. He was a skilled craftsman who, within the conventions of folk art, created portraits of enduring appeal. His work is representative of a broader movement of artists who democratized portraiture, making it accessible beyond the wealthy elite.
His influence can be seen in the way his work, and that of his contemporaries, helped to shape a distinctly American visual culture, one that valued directness, practicality, and a certain unpretentious charm. While he may not have founded a "school" of followers in the academic sense, his consistent style and prolific output contributed to the visual vocabulary of the region.
Today, Belknap is recognized as an important figure in the study of American folk art. His paintings are valued not only for their aesthetic qualities but also as historical documents that illuminate the lives and tastes of ordinary Americans of his time. The continued interest from collectors, museums, and scholars ensures his place in the narrative of American art history. He exemplifies the dedicated itinerant artist who, through talent and perseverance, made a lasting contribution to the cultural heritage of the nation.
Conclusion
Zedekiah Belknap (1781-1858) was more than just a "face painter"; he was a chronicler of his time, capturing the likenesses of New Englanders with a characteristic warmth and directness. His graduation from Dartmouth College set him apart from many self-taught limners, though he embraced the itinerant lifestyle, traveling through Vermont, New Hampshire, and Massachusetts. His distinctive style—marked by pleasant expressions, large eyes, full lips, and the use of wooden panels—made his work recognizable and sought after.
Through notable works such as the portraits of the Stearns family, Robert Bayley Thomas, and numerous endearing depictions of children, Belknap cemented his reputation. He operated within a rich tradition of American folk art, alongside contemporaries like Ammi Phillips, John Brewster Jr., and Ruth Henshaw Bascom, each contributing to the diverse tapestry of early American visual culture. His inclusion in museum exhibitions and the continued market appreciation for his work testify to his lasting significance. Zedekiah Belknap remains a key figure for understanding the art, society, and aspirations of early 19th-century America, a testament to the enduring power of folk portraiture.
