Mary (Carr) Grundy and
Mary Grundy
FRAME: 3′ diameter gold leaf.
STYLE: The portrait reflects several features which are typical of Peale’s work: oval-shaped faces, the sash at the waist ending in a gold tassel, red upholstered chair with gilt carving, and hair piled high and laced with either pearls, or in this case ribbon, long curl with wispy treatment of the rest of the hair. Children in Peale’s portraits are quite appealing, and he seems to have been a rare colonial artist with an affinity for them. Mrs. Grundy is looking slightly away from the artist, and her head is tilted to the left. This is balanced by the child, who is looking straight ahead with her head tilted to the right. The mother’s arm and long fingers support the child, but notice that Peale has the child grasping the lace at the bodice of the mother’s dress as if for additional support. The mother is seen as if she was posed alone. The baby on her lap actually appears as if she was laying in her cradle.
HISTORY: The picture did not satisfy the family, and Peale’s comment in his diary, Jan. 24, 1789, betrays some defensive asperity and illustrates his response to the criticism. He wrote: “Mrs. Grundy and child I believe quite done. The picture I esteem one of my best pieces. The mother being a fine figure and the child handsome.” He clearly gave in as the next page records that “I painted anew the head of Mrs. Grundy, which pleased better than the first.” Peale was paid thirty-five pounds for this painting.
By 1763 he advertised as a sign painter and was commissioned to paint a few portraits as well as political campaign banners. He studied independently and with John Hesselius. He also travelled to Boston where he viewed the works of John Smibert, met John Singleton Copley, and completed a number of portraits. In 1767 Peale went to England where he studied with Alan Ramsey and Benjamin West. He stayed there two years, meeting such artists as Henry Benbridge.
In addition to painting, Peale supplemented his income by teaching. Benbridge’s future wife, Hetty Sage, was one of his pupils. He taught painting to a number of family members as well, including brother James, his children, Rembrandt, Raphaelle, Angelica Kaufman, Titian, and his nephew Charles Peale Polk. After 1775, Peale moved to Philadelphia, where he continued to paint, but also pursued other scientific and natural history interests.