Grateful American™ Kids Introduce Us to Revolutionary Era Painter Charles Willson Peale!

Hello, and welcome to GratefulAmericanKids.com, David Bruce Smith's project to restore enthusiasm in American history for kids and adults, but this one is focused on kids. So as you watch this video, be aware, there will be a short quiz at the end. So be on the lookout for special clues that will let you know what the answers are to this fun and interactive quiz. Hello, I'm American Revolutionary Era artist Charles Wilson Peale, and I'm thrilled to welcome all of you Grateful American Kids to this segment of our new history TV show for kids by kids. I was born near Annapolis, Maryland on April 15th, 1741, and died in Philadelphia, Pennsylvania on February 22nd, 1827. But in the 85 years of my life, much changed in America and in the world of American art. Today we're at the Virginia Museum of Fine Arts here in Richmond, Virginia, so that I can show you some of the art that was created when our country was just starting out. Here's Robert Smith, the young boy in this painting. Now he was just two when I painted it. Robert, I'm very happy to be talking to you today about this painting that I did of you and your grandfather, William Smith, in 1788. You know that took me three weeks to complete? It was your father, General Otho Holland Williams, who commissioned me to do this piece, because your grandfather was a well-known merchant and statesman. In fact, he was one of the first members of the United States Congress, and it was he that insisted that you join the painting with him. Now I noticed that your grandfather put his hand on your head. How did that make you feel? Oh, I liked the idea of his hand on my head because it made me feel loved and protected as if I was blessed. Was your father a painter, too? Oh, no. My father, Charles Peale, was not a painter. He was a postal clerk in London, England, but he got convicted for stealing money, and instead of sending him to prison, they sent him to America, where he became a headmaster at a school in Maryland. Unfortunately, he died when I was eight. So what inspired you to become a painter, then? Well, when I was 13, I apprenticed for a saddle maker in Annapolis, Maryland, and by the time I was 21, I had my own shop, but I also repaired clocks and watches, but I didn't make a lot of money. But I did get to meet some very rich and well-educated people, and in 1762, something amazing happened. I got invited to the home of Philadelphia painter and engraver James Claypool Jr., and when I saw the artwork in his home, well, that excited me about art. And I think that's where my life as an artist truly began. So once you became a painter, what kind of things did you paint? Over the course of my career, I did 771 oil portraits, 297 miniatures, 29 landscapes, 11 still lifes, and 10 history paintings. But who's counting? Oh, I heard you were married three times and had 17 kids. Many of them became artists, too. Tell us about that. Well, I'm glad you asked me about that, because one of my sons is here right now. Here's Rembrandt. Now, Rembrandt became a famous still painter as well. Let me introduce you to Robert Smith, the young boy in this painting. Hello, Robert. Father, there is so much wonderful symbolism in this painting. Tell us more about that. Well, there is. Let's start with the country estate that's in the background. That represents the wealth that Mr. Smith accumulated during his years as a merchant. And then you'll notice the peach, the pruning knife, and the book. And that represents his avid interest in horticulture. Now, I put in those columns in the background, and that represents the stability of the new country. And it also brings us closer to the Republican values of ancient Rome. Now, this is what you call narrative portraiture, because it tells a story. And that is especially true for the painting hanging right next to the one of my grandfather and me right here at the VMFA, a portrait of a prominent lady named Elizabeth Page who would become Mrs. Benjamin Harrison. Right you are. Remember when I told you that I painted presidents and the founding fathers? But I also painted other prominent people who lived in colonial America. Mrs. Benjamin Harrison, for instance. Now, she was a member of Virginia's landed gentry, because she was part of a social group that owned land. Now, she grew up on a beautiful farm called Rosewell Plantation that was built by her father in Gloucester County, Virginia. I painted her in 1775. I also added roses to her dress. The unopened rosebud indicates that she's probably expecting a child. Does Robert know how you learned how to be such a great painter? Well, let me show you one of the paintings done by my teacher, Benjamin West. It's hanging right over here. This piece was by Benjamin West. He was a painter to the kings and queens of England. King George III commissioned Mr. West to do this painting of his niece and nephew in 1779 during the American Revolution. The painting was meant to remind people of their due loyalty to the king. The Virginia Museum of Fine Arts has one of your paintings, Rembrandt, of a famous lawyer, one of our first chief justices, John Marshall. What do you say we go take a look at it? Father, I'm very proud of this painting. As you should be. Why don't you tell us something about it? This painting is of John Marshall of Richmond, Virginia, who served as the fourth chief justice of the United States. My goal is to capture Justice Marshall's inner character and judicial temperament. Well, you did a magnificent job. But remember, you weren't the only talented member of our family. I had 11 children with your mother, Rachel, whom I married in 1762. And I named several of our children after artists. There was Raphael, who was the still-life painter, Rubens, who managed our museum in Philadelphia, and Titian, who took part in expeditions out west. And of course, there was my brother James, your uncle. He was a famous painter, and he had many children. He had three girls who went on to become some of the first female American painters, Margaretta Angelica Peele, Anna Claypool Peele, and Sarah Miriam Peele. In fact, Anna Claypool and Sarah Miriam are here today. Anna Claypool, Sarah Miriam, it's wonderful to have you with us today. Both of you grew up to be such well-known artists. Sarah Miriam, let's start with you. You know, they have some examples of still-lifes here at the VMFA. Let's go take a look at those and talk about your work. Anna Claypool, Sarah Miriam, you've turned out to be such a fine portrait artist. Tell us a little bit about your career. Well, I was the youngest in my family, born in 1800 in Philadelphia. When I was 16, I decided to show my art, my still-life paintings, in public and found my passion, which is portraiture. Both Anna Claypool and Sarah Miriam were so proud of both of you because you were both accepted into the Pennsylvania Academy of Fine Arts, which was a first because you were the first two women accepted into the Academy. Yes, Sarah Miriam, you were certainly prolific. You painted more than 100 commissioned portraits, including some of the wealthiest residents in Baltimore and politicians from Washington, D.C. It was remarkable to watch you work, but I always loved your still-life work. I think my favorite was Basket of Berries, which you painted in 1860. Well, Anna, we're also so very proud of you, too. You captured the essence of the people who sat for you, and in fact, at the age of 20, you were part of our first exhibit at the Pennsylvania Academy of Fine Arts, which for you became a major exhibit. Oh, that was a divine experience, wasn't it, Sarah Miriam? But I think the moment that truly took our breath away was in 1824, when we were elected academics in the Academy, making us the first women to do so. It was such an honor to the entire family. It'll be so very nice to meet some of the patrons who helped that dream become a reality. Well, it's an honor to have you with us today, ladies. It was with great pleasure that in 1805, I helped found the Pennsylvania Academy of Fine Arts with my good friend and sculptor, William Rush. President Thomas Jefferson, who was in his second term at the time, was a great supporter of not only my work, but of this museum. What I appreciate most about the museum is its goal to collect works by leading American artists and distinguished alumni of the school. In fact, meeting your two nieces, Anna Claypool Peale and Sarah Miriam Peale, was the highlight of the time I lived in Philadelphia. Starting in 1811, you also organized annual art exhibitions. I never missed a single one. Well, for me, it was a letter that I received from Benjamin Franklin in 1771. He was also a great supporter of my work in this museum. He wrote me a letter from London when I was just 30. He said, the arts have always traveled westward, and there is no doubt of their flourishing hereafter on our side of the Atlantic, as the number of wealthy inhabitants shall increase who may be able and willing suitably to reward them. Indeed. That lovely man certainly knew what he was talking about. It is our honor and duty to support American artists such as yourself, Mr. Peale. Well, before you leave today, you must check out the mastodon bones. President Jefferson still believed they roamed the northern reaches of our continent. Oh, that was a wonder to see that exhibit. We are so happy to have been here with you today. Well, the pleasure is all mine. And so you've just gotten a glimpse into my life. They called me a Renaissance man because not only did I have expertise in painting, but also carpentry, dentistry, optometry, shoemaking, and taxidermy. I also wrote several books, including an essay on building wooden bridges and an epistle to a friend on the means of preserving health. But perhaps it was my family that were my greatest legacy. Indeed, my three wives and 17 children made my life wonderful, for it is the children that will carry on the values of the past. And so I bid you a fond farewell. And I hope you've enjoyed this episode of Grateful American Kids TV, and that it inspires you to learn more about history, and perhaps pick up a paintbrush and see what you can create. Kids, what does the VMFA stand for? A. The Vermont Military and Farming Association B. Vegetarian Moms for Agriculture C. The Virginia Museum of Fine Arts or D. The Victorian Models and Fashion Affiliation The answer is C. The Virginia Museum of Fine Arts. How many children did Charles Wilson Peale have? A. 10 B. 17 C. 2 D. 24 The answer is B. 17 Question number three. Who was Charles Wilson Peale's art teacher? A. Benjamin West B. Kanye West C. Cornel West or D. Adam West The answer, of course, is A. Benjamin West, who was one of the most famous painters of the time in London. Question number four. Which academy did artists Anna Claypool and Sarah Miriam get accepted to? A. Hogwarts School of Wizardry and Witchcraft B. Starfleet Academy C. Xavier's School for Gifted Youngsters or D. The Pennsylvania Academy of Fine Arts The answer is D. The Pennsylvania Academy of Fine Arts. Question number five. Charles Wilson Peale helped discover and put together the remnant of which ancient animal? A. A saber-toothed tiger B. A mastodon elephant C. Tyrannosaurus Rex or D. The Megalodon shark The answer is B. A mastodon. That's it for today's quiz about Revolutionary War painter Charles Wilson Peale. Thank you so much for playing with us and stay tuned for our next video. Who will it be? Send us your requests at GratefulAmericanFoundation.com and GratefulAmericanKids.com. I'm Hope Katz-Gibbs, the executive producer. Feel free to write me. Here's to being excited about American history.