Although Jefferson obviously saw Monticello as an agricultural operation, he treated it more like an immense backdrop against which he played the role of statesman and participant in the republic of letters. It was a setting, the place where he also made entries into his various record books, read, played his violin (when he was younger), entertained guests when required, contemplated what to do about the plantation factories he built and operated for personal and commercial use, and planned his university. More than anything else, for Jefferson, Monticello was a place where he built things, most notably the house that was the centerpiece of his identity.
American painter, active in England; 1761—1831.
American painter, principally active in London after 1774; 1738—1815.
American painter; 1751—1801.
American painter, soldier; created first American museum; 1741—1827.
American painter, son of Charles Willson Peale; 1778—1860.
American painter of quintessential portraits, including George Washington; 1755—1828.
British-born painter, mainly of portraits, extended the iconography of the Revolution and the Founding Fathers into the 19th century; 1783—1872.
American artist, soldier at the Battle of Trenton; 1756—1843.
American artist, worked in Philadelphia under Gilbert Stuart, protégé of Aaron Burr; 1775—1852.
American-born painter who moved to England in 1763; 1738—1820.
"Most Blessed of the Patriarchs" (2016)