Provenance
Recorded as from New Jersey. Abraham Clark (life dates and city unknown). Edward and Cora Clark, Aldine, New Jersey.[1] Sold to (H. Gregory Gulick, Middletown, New Jersey), by whom sold in 1947 to Edgar William and Bernice Chrysler Garbisch; gift to NGA, 1953.
[1] A handwritten note in the NGA curatorial files, apparently supplied to Gulik by Edward and Cora Clark, is headed "Aldine N.J. Nov 27/43." It states that the painting had been in the Clarks' house for about sixty years and that it was previously owned by Edward Clark's grandfather, Abraham Clark, "one of the signers of the Declaration of Independence." Because of the time span, Abraham Clark the signer (1726-1794) cannot have been Edward Clark's grandfather, though he may have been related in an earlier generation, nor, given the date inscribed on the back of the painting, could he be the man in the painting.
Accession Number
1953.5.40
Medium
oil on wood
Dimensions
overall: 64.8 x 81.3 cm (25 1/2 x 32 in.) | framed: 80.6 x 94.9 x 6.9 cm (31 3/4 x 37 3/8 x 2 11/16 in.)
Classification
Painting
Credit Line
Gift of Edgar William and Bernice Chrysler Garbisch
Tags
Painting Neoclassical & Romantic (1751–1850) Oil Painting American
Background & Context
Background Story
Abraham Clark and His Children is a painting by an artist identified only as J.H., dated 1822, depicting the family of Abraham Clark—one of the signers of the Declaration of Independence from New Jersey. Abraham Clark (1726-1794) was a lawyer and politician who represented New Jersey in the Continental Congress and bravely signed the Declaration despite the personal risk this entailed. Two of his sons were captured by the British and subjected to harsh imprisonment, a sacrifice that made the Clark family a symbol of Revolutionary sacrifice. The painting of Clark with his children, created nearly three decades after his death, belongs to the tradition of posthumous portraiture that played an important role in early American culture. In the decades following the Revolution, Americans were acutely aware of the need to create a visual record of their Founding Fathers and their families. Many of the signers and other Revolutionary figures had died before the advent of widespread portrait painting in America, and their likenesses were preserved through posthumous portraits based on earlier images, written descriptions, and family memory. The year 1822 fell during a period of intense national reflection, as the Revolutionary generation was passing from the scene and Americans sought to preserve their legacy. The painting serves multiple functions: as a memorial to Clark's patriotism, as a record of his family, and as a statement of the values of sacrifice and dedication that the younger generation was expected to uphold. The inclusion of Clark's children emphasizes the personal dimension of Revolutionary sacrifice—these were real families who suffered for the cause of independence. The artist J.H. likely operated within the tradition of American folk portraiture that flourished in the early nineteenth century, when demand for portraits exceeded the supply of academic-trained painters, particularly outside the major cities.
Cultural Impact
Posthumous portraits of Revolutionary figures and their families served as visual anchors for American national identity during a period when the young republic was still constructing its historical narrative. These images made the abstract ideals of the Revolution concrete and personal, connecting viewers to the founding generation through the universal experience of family and filial devotion.
Why It Matters
This painting matters as a document of American Revolutionary memory and the posthumous portrait tradition that preserved the visual legacy of the founding generation, emphasizing the personal sacrifices that underpinned the creation of the American republic.