Works by Gilbert Stuart

Self-Portrait, c. 1778

Portraits of Stuart

3 albums

	The Vaughan Portrait & Copies Named for Samuel Vaughan, an American merchant living in London, who was the recipient of the original painting. Stuart made 12 to 16 copies of the Vaughan painting and then stopped after he obtained commissions to paint new portraits of Washington. » view »
	The Athenaeum Portrait & Copies Martha Washington commissioned the original pair of portraits from Gilbert Stuart for Mount Vernon. He never completed the canvases, keeping them in his possession and making some 75 copies until his death in 1828. Subsequently they were acquired by the Boston Athenaeum. » view »
	The Lansdowne Portrait & Copies The Lansdowne Portrait was painted for William Petty, first Marquess of Lansdowne and British Prime Minister. Stuart went on to paint three copies (one attributed to him); one variation — The Constable-Hamilton Portrait; and four revised versions. » view »

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	John Jay, 1784; 1804—1818 by Gilbert Stuart (1755—1828); John Trumbull (1756—1843) Oil on canvas. National Portrait Gallery (Smithsonian), Washington, DC. The head was painted by Stuart in 1784;… » view »
	John Jay, 1794 by Gilbert Stuart (1755—1828) Oil on canvas; 131 x 102 cm (51 9/16 x 40 3/16 in.) National Gallery of Art, Washington, DC. Jay is depicted in… » view »
	Joseph Brant, 1786 by Gilbert Stuart (1755—1828) Oil on canvas; H: 41 1/2 x W: 37. New York State Historical Association, Fenimore Art Museum, Cooperstown, NY.… » view »
	Joseph Brant, 1786 by Gilbert Stuart (1755—1828) Oil on canvas; 23-1/2 x 24 in. (59.7 x 61 cm). Private collection. Commissioned by Hugh Percy, Duke of… » view »
	Aaron Burr, c. 1793—94 attrib. Gilbert Stuart (1755—1828) Oil on canvas. The New Jersey Historical Society, Newark, NJ. » view »
	Major General Horatio Gates, c. 1793—94 by Gilbert Stuart (1755—1828) Oil on canvas; 44 1/4 x 35 7/8 in. • 112.4 x 91.1 cm. The Metropolitan Museum of Art, New York, NY. Gates at age… » view »
	Charles Lee or Gentleman of the Lee Family, c. 1794—1803 by Gilbert Stuart (1755—1828) Oil on canvas; 30 x 25 in. (76.2 x 63.5 cm.) The Metropolitan Museum of Art, New York, NY. » view »
	Robert R. Livingston, c. 1794 by Gilbert Stuart (1755—1828) Oil on canvas. New York Historical Society, New York, NY. » view »
	Bishop William White, c. 1795 by Gilbert Stuart (1755—1828) Oil on canvas; 36 x 31 in. (91.4 x 78.7 cm). Pennsylvania Academy of Fine Arts, Philadelphia, PA. » view »
	Mrs. Robert Morris, c. 1795 by Gilbert Stuart (1755—1828) Oil on canvas; Height: 67.31 cm (26.5 in.), Width: 54.61 cm (21.5 in.) Private collection. » view »

Virtually all modern accounts of the Revolution begin in 1763 with the Peace of Paris, the great treaty that concluded the Seven Years’ War. Opening the story there, however, makes the imperial events and conflicts that followed the war — the controversy over the Sugar Act and the Stamp Act crisis — into precursors of the Revolution. No matter how strenuous their other disagreements, most modern historians have looked at the years after 1763 not as contemporary Americans and Britons saw them — as a postwar era vexed by the unanticipated problems in relations between the colonies and metropolis — but as what we in retrospect know those years to have been, a pre-Revolutionary period. By sneaking glances, in effect, at what was coming next, historians robbed their accounts of contingency and suggested, less by design than by inadvertence, that the independence and nationhood of the United States were somehow inevitable.

— Fred Anderson

Crucible of War: The Seven Years’ War and the Fate of Empire in British North America, 1754 - 1766 (2000)