John Quincy Adams

by John Singleton Copley (1738—1815)

Oil on canvas; 76.52 x 63.5 cm (30 1/8 x 25 in). Museum of Fine Arts, Boston, MA.

by Gilbert Stuart (1755—1828)

Oil on panel; 68 × 55.9 cm (26.77 × 22.01 in) The White House Collection, Washington, DC.

by Gilbert Stuart (1755—1828)

Oil on canvas; 76.4 × 63.5 cm (30.08 × 25 in). The White House Collection, Washington, DC.

by Thomas Sully (1783—1872)

Watercolor, black chalk, and graphite on off-white laid paper; 10 3/8 x 6 1/2 in.

by Gilbert Stuart (1755—1828)

Oil on canvas; 241.3 x 151.8 cm (95 x 59 3/4 in). Harvard University Portrait Collection, Cambridge, MA.

Copy of photo by Philip Haas

According to the Metropolitan Museum of Art web site, this image is a copy of a lost daguerreotype of Adams taken by Philip Haas in 1843.

by Studio of Mathew Brady (1822—96)

Daguerreotype.

by Edward Dalton Marchant (1806—87)

 

by George Peter Alexander Healy (1813—94)

Oil on canvas; Height: 1,574.8 mm (62 in). Width: 1,193.8 mm (47 in). The White House Collection, Washington, DC.

C. Vann Woodward has written of Jefferson, It fell to the lot of one Virginian to define America. It was in his private life that Jefferson defined the relationship between blacks and whites in America, acting out in the most specific sense the psychosexual dilemma of the whole nation. Other great men in history have loved unlettered women, among them Rousseau and Goethe, each of whom lived for years with virtually illiterate mistresses and then in the end married them. But Jefferson’s dilemma was peculiarly American. So savage were the penalties of this kind of love in the New World that he could neither admit it nor defend it without fear of social ostracism, and he had to keep up an elaborate pretense that it did not exist. He could not openly, and perhaps even privately admit his paternity to Sally’s children.

Fawn M. Brodie
Thomas Jefferson: An Intimate History (1974)