Portrait Tour - Floor Two

From the George Porter portrait, take a left into the small alcove outside the Governor's Parlor Room doors. Around the corner is the portrait of Governor Sleeper.

Portrait of Governor Albert Sleeper

Governor Albert Sleeper

Edwin Murray MacKay (1869 - 1926)

Oil on canvas

c. 1920

This portrait of Governor Sleeper represents a turning point in the collection, where artists begin to stray from the classical approach. While Sleeper's face and hands remain realistic, we can see more visible brushstrokes and a variation of color and paint thickness within them. His facial expression and pose are also more relaxed and comfortable. 

The background of this piece showcases much more artistic freedom and spontaneity than earlier portraits. The unrestrained, colorful brushstrokes in the couch and the curtain behind Sleeper communicate intense emotion. They may call to mind some Post-Impressionist artwork - like that of Van Gogh, for example!

From the Governor Sleeper portrait, take a left into the Senate lobby and then right to the second floor rotunda railing. The first portrait to your left will be the portrait of Governor John Swainson.

Portrait of Governor John Swainson

Governor John Swainson

Pablo Davis (1916 - 2013)

Oil on masonite

1964

Of all the portraits in the collection, this one garners the most questions from our visitors! Governor Swainson's portrait stands out due to its unique brushwork, which gives it an unfinished, sketched appearance. It is a powerful example of how social and historical context can help us understand an artwork.

Swainson's portrait is an example of Abstract Expressionsim: a style that developed in response to the uncertainy of mid-20th century America.  The country was at war in Vietnam, with the Korean War, WWII, and the Great Depression fresh in its collective memory. This art style is characterized by fast, loose, spontaneous brushstrokes and abstract colors, which help communicate the artist's emotional state to the viewer.

Fun Fact! This portrait is painted on a hardboard called Masonite, rather than canvas, which has created a challenge for conservators because oil paint has trouble adhering to it. Even the materials of this work reflect the uncertainty of its time period!