Yul Brynner

Yul Brynner (Youl Bryner) (1915-1985), b. Sakhalin, Russia The only bald, ex-trapeze artist, philosophy graduate of the Sorbonns to star in films, Yul Brynner had so much originality, so little interest. The son of Swiss and Mongolian parents, Brynner always carried himself with an air of enjoyable implausibility. But all too often the film world accepted him as a true exotic rather than an amused sham. Briefly, in Once More With Feeling (59, Stanley Donen), he was permitted to make fun of his own mysterious glamour; and in Le Testament d’Orph^e (60, Jean Cocteau) he had a moment of studied inscrutability. But set down in any of the naturalistic environs of American genres he looked like a man from nowhere, relying on the dubious notion that bald men appeal to women. The record of his career suggests that the novelty soon wore off, but that baldness was an extreme gesture that could not be abandoned, Imagine the humiliation of a Brynner in hair; picture the ordeal of forever shaving his head for increasingly mediocre films. He went to America in 1941 and entered the theatre. It was the part of the king in The King and I that brought him fame and, incredibly, the Oscar for best actor in the film made of it in 1956, directed by Walter Lang. That was his second film. In 1949 he had appeared in fort of New Yorfc (Laslo Benedek), amid a career in TV as performer and producer. His King of Siam was an inconsequential performance, full of brooding stares that already suggested a sense of the ridiculous. But domed sex was not to be denied, and for a few years Brynner tried to live up to a public relations picture of domineering, sensual cruelty: as Pharaoh in The Ten Commandments (56, Cecil B. De Mille); Anastasia (56, Auatole Litvak); helplessly trying to be passionate as Dmitri in The Brothers Karamazov (57, Richard Brooks); The journey (58, Litvak); escaping into hair as Jason in The Sound and the Fury (59, Martin Ritt) and in The Buccaneer (58, Anthony Quinn); stepping into Tyrone Power’s sandals and armor for Solomon and Sheba (59, King Vidor); and then playing the lead in The Magnificent Seven (60, John Sturges). That film was a great success, but it was the beginning of Brynner’s decline into European-based thrillers and Spanish Westerns, with the occasional return to an Oriental period piece: Taras Bulba (62, J. Lee Thompson);

Harriet Andersson

b. Stockholm, Sweden, 1932 By the standards we have come to expect of Swedish actresses, Harriet Andersson is something of an outsider: a little coarse, sensual, dark, and slatternly, a creature of more homespun sensibility: thus, her fame was based originally on the arbitrary, sexy working girl, Monika, in Summer with Monika (52, Ingmar Bergman). Her own background was in revue and the chorus line, rather than the straight theatre. She began filming in her late teens: Medan Staden Sover (50, Lars-Eric Kjell-gren); Anderssonnkans Kalle (50, Rolf Hus-berg); Biffeii och Bananen (51, Husberg); Puck Heterjag (51, Schamyl Bauman); Sabotage (52, Eric Jonsson); Ubat 39 (52, Erik Faustman); and Trots (52, Gustaf Molander), After Summer with Monika, she made several films for Bergman, invariably representing the sensual “lower” woman: first as the circ\is girl in Sawdust and Tinsel (53); A Lesson in Love (54); journey into Aiitumn (55); and Smiles of a Summer Night (55). After that, she made three more films with Bergman: superb as the schizophrenic in Through a Glass Darkly (61); in Now About These Women (64); and as the dying sister in Cries and Whispers (72), If she did not work for him much more it may be because of her marriage to director Jorn Don-ner, a man more disposed to drawing out her vitality. Her other films include: Hoppsant (55, Stig Olin); Sista Paret Ut (56, Alf Sjoberg); Nattbarn (56, Gunnar Heltstrom); Kvinna i Leopard (58, Jan Molander); Flottanfs Overman (58, Olin); Brott i Paradlset (59, Kjell-gren); to Germany for Barliara (61, Frank Wisbar): Slska (62, Alf Kjellin); Lyckodrnm-men (63, Hans Abramson); A Sunday in Sejitember (63, Conner); To Love (64, Don-uer); Loving Couples (64, Mai Zetterling); For Van&kaps Skull (65, Abramson); Lianbron (65, Sven Nykvist); Heir Borjar Aventyret (65, Donner); to Britain for The Deadly Affair (66, Sidney Lumet); Ormen (66, Abramson); in an episode from Stimulantia (67, Donner); Rocftree (67, Donner); Mennesker Modes og Sod Musik Upatar in tljertet (fi7, Henning Garlsen);]ag Alskar du Ahkar (6&, Stig Bjork-man); The Girls (68, Zetterling); Anna (70, Donner); Den Vita Vcggen (75, Bjorkman); Monismanien 1955 (75, Kenne Fant); La Sabina (79, ]os6 Luis Borau); as the kitchen maid in Fanny and Alexander (82, Bergman); Rakenstram (83, Hellstrom); Summer Nights (87, Gunnel Lindbumi).
of her greater emotional experience. She was thirty now, and in that astonishing scene where Liv Ullmann and she look into the camera as if it were a mirror, and Ullmann arranges Andersson’s hair, it is as if Bergman were saying, “Look what time has done. Look what a creature this is.” Alma talks throughout Persona but is never answered, so that her own insecurity and instability grow. Technically the part calls for domination of timing, speech, and movement that exposes the chasms in the soul. And it was in showing that breakdown, in reliving Alma’s experience of the orgy on the beach years before, in deliberately leaving glass on the gravel, and in realizing with awe and panic that she is only another character for the supposedly sick actress, that Andersson herself seemed one of the most tormented women in cinema.
She was in support, spiky and ill at ease in A Passion (69, Bergman), the center of regeneration in The Touch (71, Bergman), and in one episode from Scenes from a Marriage (73, Bergman). The Touch shows that she is the warmest, most free-spirited of Bergman’s women, more broadly compassionate than Thulin or Ullmann. Being more robust, her distress is more moving, and her doggedness Tnore encouraging.
Necessarily, that seems the core of her life as an attress. But in addition, she has played Miss Julie on Swedish TV, After the Fall and Who’s Afraid of Virginia Woolf? on the stage, and these other films: My Sister My Love (66, Sjoman); Le Vial (67, Jacques Doniol-Valcroze); Svarta Palmkronor (68, Lars Magnus Lindgren); The Girls (68, Mai Zctterling); Taenk pa et Tat (69, Palle KjaeruIff-Schmidt); Storia di una Donna (69, Leonardo Berco-vici); The Kremlin Letter (70, John Huston); Afskedens Time (73, Per Hoist); Blondy (75, Sergio Gobbi); I Never Promised You a Rose Garden (77, Anthony Page); An Enemy of the People (78, George Schaefer); Qttin-tet (79, Robert Altman); L’Amour en Question (79, Andre” Cayatte); The Concorde—Airport 79 (79, DavidLowel! Rich); Twee Vrotvert (79, George Sluizer); Barnforbiudet (80, Johan Bergenstrahle); Blomstrande Tider (80, John Olsson); Marmeedupprtruet (80, Erland Josephson and Sven Nykvist);/ag Rodnar (81, Sjoman); Scarte Fuller (83, Lasse Glom); as Nastassja Kinski’s mother in Exposed (83, James Toback); A Hill on the Dark Side of the Moon (83, Lennart Hjulstrom); Sista Laken (84, Jan Undstrom); Hitomenna (86, Julia Rosna); Babette’s Feast (87, Gabriel Axel); Los Duenos de la Silencia (87, Garlos Lemos); Zernando al Viento (88, Gon/alo Suarez);
and, for TV, Wallenberg: A Hero’s Story (88, Lament Johnson).

Lindsay Anderson,

b. Bangalore, India, 1923 1948; Meet the Pioneer,? (d). 1949: Idlers That Work (d). 1951: Three Installations (d). 1952: Wakefield Express (d)- 1953: Thursday’s Child (codirected with Guy Brenton) (d); O Dreamland (d). 1954; Trunk Conveyor (d). 1955; Foot and Mouth (d); A Hundred Thousand Children (d); The Children Upstairs (d); Green and Pleasant Land (d); Henry (d); £20 a Ton (d); Energy First (d). 1957: Every Day Except Christmas (d), 195!): March to Alder-maston (codirected) (d). 1962: This Sporting Life. 1966: The White Bus (s). 1967: Raz, Dwa, TrzytThe Singing Lesson. 1968; If. … 1972; 0 Lucky Man!. 1974: In Celebration. 1979; The Old Crowd (TV); Red White and Zero. 1982: Britannia Hospital. 1987: The Whales of August 1989: Glory! C/ory.’ (TV).
By now, it looks as if the contradictor!ness in Anderson’s personality will be vigorous

13 Lindsay Anderson
enough to prevent him from a filmmaking career that has any continuity. And yet since the war he lias been one of the more active and idiosyncratic figures in the British arts. Anderson has been so fiercely engaged with the problem of why it is so difficult to make good films in England, one cannot escape the feeling that his energies are unresolved and that his rather prickly talent has never been fully expressed. England’s fault or Anderson’s? The question is crucial because Anderson has been involved in some of the most thorough scrutiny of the British cinema. And just as there was never much doubt that he was more talented than his contemporaries—Tony Richardson and Karel Reisz— so he never allowed his solution to the questions to become tied to any noncine-mutic dogma. Briefly, in the mid-1950s, his sense of commitment fastened on that left-wing emotion that inarched to Aldermaston. But Anderson is too good an artist to swallow politics whole. His need to he committed is itself the chief impulse of his career, and the catalogue of his causes is, by implication, the story of dissipation. His productions of David Storey’s stage plays have an earnestness and need for significance that might alarm an author and certainly expose the texts. In retrospect, he seems a lesser figure than, say, Robert Hamer or Seth Holt—if only because he has made so few features—and already too inflexible In an age of Eranagh and Stephen F rears.
Anderson was the son of an officer in the Indian army. He came back to England to go to Cheltenham and Oxford; which underlines the biographical elements of Kipling and public school in If. . . . His period at university was interrupted by war service. But, still at Oxford, in 1947, he was one of the founders of the magazine Sequence (Karel Reisz was the other). He edited it for five years, by which time he was involved in documentary filmmaking. The simultaneous criticism and creativity was vital to Sequence but sadly peripheral to filmmaking and appreciation in Britain. Anderson’s documentaries are no advance on the films of the 1930s and 1940s, while Sequence is an uneasy and inconsistent proponent of a director’s cinema. Anderson’s own taste was for what he called “poetic” cinema; but that led him to liking John Ford as much as Vigo, The beginnings of a proper appreciation of American cinema in Sequence were always evaded, perhaps through ultimate critical shortcomings, perhaps through distaste for America. In any event, Anderson missed the chance that Cahiers du Cinema gobbled up, of a new movie aesthetic that took American sound films as its models.
Bui, even in 1958, Anderson seemed torn between irritation with Cohiers and the recognition that it had taken a rewarding path, above all in the way it led fo actual, and marvelous, films: “Here you have a magazine like Cahiera du Cinema, terribly erratic and over-personal in its criticism, which has been enraging us all for the last five years. But the great compensation is that its writers make films, that three or four of its critics art; now making films independently. And this means that they have a kind of vitality which is perhaps finally more important than critical balance.” Tbat comes from a Sight and Sound discussion with Paul Rotha, Basil Wright, and Penelope Houston in which Anderson alone seems disturbed by English inertia. Those films he saw corning made Free Cinema—the hopeful blanket description of British documentary in the mid-1950s—look dreadfully insipid.
In fact, Anderson worked in TV and began to direct for the theatre. His first feature. This Sporting Life, was from a novel by David Storey and still smacked of Free Cinema in its flashy use of tenements, pubs, and rugby league. But the dogged boorishness of its subject, epitomized in the inescapable presence of Richard Harris, gave it a sad, plodding feeling in place of the sheer working-class tragedy to which it aspired.
In the 1960s, Anderson was more heavily involved in the theatre than in films. The White Bus was broken by production problems, and The Singing Lemon showed Anderson’s rather forlorn resort to East Europe as an artistic influence. Indeed, Milos For man owns up to a large debt to Anderson’s encouragement. If.. ., in 1968, and for Paramount, was a real film, rooted in a world and feelings that Anderson knew, but alight with idbas and passions that would not have shamed Vigo. Its ending is bleakly and helplessly destructive (as if Anderson now was disenchanted with politics), but //. . . makes other English school films look halfhearted. It is pungent, sexy, socially accurate, funny, and exciting— what a film for a young man to have made. O Lucky Man!, though, is something an older man hopes to forget.
Anderson remains his own man: despite the geriatric delicacies of The Whales of August (nothing else has ever shown him as such a softy), Britannia Hospital was a rowdy satire on bureaucracy, while Glory! Gtoryl tore TV evangelism limb from limb with astonishing zest and Swiftian vengeance.

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Audrey Hepburn-Actress and Humanitarian 1929-1993

To save a child is a blessing: to save a million is a God-given opportunity.
—AUDREY HEPBURN ABOUT HER WORK WITH UNICEF

When people hear the name Audrey Hepburn, it undoubtedly evokes images of her memorable film and stage character portrayals, such as Holly Golightly in Breakfast at Tiffany’s (1961) and Eli/a Doolittle in My fair Lady (1964). Audrey received many honors, including an Academy Award, two Tonys, the Screen Actors Guild Life Achievement Award, and the Jean Hersholt Humanitarian Award, posthumously. Perhaps best known as an actress, Audrey is also remembered as a great humanitarian. As Goodwill Ambassador for the United Nations Children’s Fund (UNICEF) from 1987 until 1992, Audrey worked tirelessly for rhe poor, starving, suffering children in Third World countries like Ethiopia, Bangladesh, and Somalia. Though born into a world of wealth and prominence, Audrey knew all too well about hunger and hardship. On May 4, 1929, in Brussels, Belgium, English banker John Hepburn Huston and his wife, Dutch Baroness Ella van Hcemstra, became the parents of a baby girl. Named Edda Kathleen van Heemstra Hepburn Ruston (though called Audrey), she was a shy, gentle child who loved animals and nature’s peacefulness. Her parent’s marriage was often turbulent and finally ended when John left the family in 1935- For the quiet six-year-old, it was devastating. “The most traumatic event in my life.” “[A] tragedy from which 1 don’t think I’ve ever recovered. I worshipped him and missed him terribly from the day he disappeared,” said Audrey.
After John’s departure, Ella sent Audrey to an exclusive girls’ boarding school in London. Away from her family (Audrey had two older stepbrothers, Alexander and Ian, from Ella’s previous marriage), Audrey was terribly lonely and afraid. During that time she did discover one thing that brought her joy-ballet. However, there wasn’t much time for Audrey to learn dance because England had declared war on Germany in 1939 after the Nazis invaded Poland. Ella took the family to Arnhem, Holland, where she thought they would be safe from a war that would quickly consume Europe.
The Nazis occupied Holland in 1940, stripping the van Heemstras and others of their wealth and property. Relatives were murdered. The occupation robbed Audrey of a normal adolescent life. Instead of attending parties or going to the local cinema, Audrey spent her days just trying to survive. Food was scarce, and she suffered from malnutrition, surviving on turnips and tulip bulbs. Holland was liberated on Audrey’s sixteenth birthday, and she and her family were able to live free again. Of that period she said, “We lost everything, of course—our houses, our possessions, our money. But we didn’t give a hoot. We got through with our lives, which was all that mattered.”
After the war Audrey auditioned at the Marie Lambert ballet school in London and was accepted on a scholarship. Because of her 5-foot 7-inch height and slim 110-pound weight, she also began doing some modeling work Though her build was good for modeling, it was not good for ballet, so Audrey channeled her energy into modeling and landing bit parts in films and on stage.
By 1951 Hepburn had appeared in minor roles in several British films including Laughter in Paradise and The Lavender Hill Mob. Her career break came while she was shooting a scene for Monte Carlo Baby in a hotel lobby on the French Riviera. Hepburn was spotted by the famous French writer Collette, who was casting her play Gigi. When she saw Hepburn, Collette knew immediately that she was perfect for the title role.
Shortly after being cast in Gigi, Hepburn auditioned for a movie role being cast by Hollywood director William Wyler. He found her irresistible and offered her the lead part in Roman Holiday. In a matter of months Hepburn found herself starring in a Broadway play and a Hollywood movie. However, at rehearsals it was obvious tbat Hepburn’s acting needed improvement. She worked hard and her performances got better. Though Gigi received mixed reviews from the critics, they loved Hepburn.
When Gigi closed in early 1952, Hepburn began work on Roman Holiday. Costar Gregory Peck was completely taken with the young actress. The film opened in August 1953 to rave reviews from critics and moviegoers. Hepburn’s “look,” her refined style and pixielike stature, was new to the cinema. When the Academy Awards were handed out in the spring of 1 954, Hepburn won the Best Actress Oscar for Roman Holiday.
On the personal front, Hepburn had been engaged to Yorkshire multimillionaire James Hanson, who proposed during the premiere of Gigi, However, when Hepburn realized that she would have to give up her career to be Hanson’s wife, she broke off the engagement. A more lasting romance blossomed when she met fellow actor Mel Ferrer at a party. There was an instant attraction between the two, and they married in 1954.
Over the next few years Hepburn appeared on stage and made several other successful films including Sahrina (1954), Love in the Afternoon (1957), and Funny Face (1957), a musical in which she got to glide around the floor with legendary dancer Fred Astaire. For her work on Broadway in Ondine (1954), as a fairy who falls in love with a knight, Hepburn won the Tony Award (the theater equivalent of the Oscar).
Though thrilled with the success of her career and happily married, Hepburn’s greatest desire was to have children. She would -suffer two miscarriages before finally giving birth to a son on January 17, 1960. Hepburn named her son Sean, which means “gift of God.” He was baptized in the same church, and by the same pastor who married Hepburn and Ferrer in 1954.
After Sean’s birth, Hepburn went back to her career, working on films, including two of her most well known—Breakfast at Tiffany’s and My Fair Lady. Her portrayal of Holly Golightly earned Hepburn her fourth Oscar nomination. Unfortunately, Hepburn’s marriage was failing, and she and Ferrer finally divorced in 1968. She began dating Italian psychiatrist Dr. Andrea Dotti, and the two wed in 1969. On February 8, 1970, Hepburn gave birth to her second child, a son she named Luca. After living in Rome fot about a year, Hepburn returned with her children to La Paisible (the Peaceful Place), her home in Tolochcnaz, Switzerland.
“Semiretired” for five years, Hepburn was coaxed into making the film Robin and Marian with Sean Connery in 1976. Only a few more film appearances followed, including Bloodline (1996) and They All Laughed (1981). Hepburn, aware for a while that Dotti had not been faithful, finally filed for divorce in 1980. On the set of They All Laughed, Hepburn met actor Robert Welders. The two became great friends and remained companions for the rest of Hepburn’s life.
In 1 987 Hepburn began a second career, as a special Goodwill Ambassador for UNICEF, the United Nations (UN) organization that provides food, medical, and educational assistance to children all over the world who are in crisis. The appointment was particularly special for Hepburn, as she had been aided by
United Nations Relief and Rehabilitation Administration, the forerunner of UNICKF, when she was a refugee in Holland as a teenager.
On behalf of UNICEF, Hepburn attended fund-raisers and made countless trips to visit people in impoverished countries in Central America, Asia, and Africa. Hepburn continued her work for UNICEF until she became ill with colon cancer in 1992. She returned to her beloved La Paisible, where she remained until her death on January 20, 1993.

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Marlon Brando
“Tough-Guy”Actor Best Known
for His Performance in The Godfather
1924-

The more sensitive you are, the more likely you are to be brutalized, develop scabs and never evolve. Never allow yourself to feel anything because you always feel too much,

—MARLON BRANDO
hen Marlon Brando played seemingly dumb loser and mob’s boy Terry Malloy in On the Waterfront, audiences quickly realized the character was much more than just that. They saw that Brando had enormous range and was not only outstanding in the sensitive scenes with the lovely Eva Marie Saint but in the many that followed, showing Malloy’s growth into a man ready to fight for what is right, putting himself at risk of death. When Malloy rides in the backseat of a car with his older brother, not knowing he is on his way to his own death, he gives one of the most remembered and earnest speeches in all of golden Hollywood history:

“I could’ve had class. I could have been a contender; I could’ve been somebody . . . instead of a bum.”

So heartfelt are the words, that Terry’s brother cancels Terry’s killing, at great risk to himself, and audiences were completely won over.A tough guy who was born in Omaha, Nebraska, on April 3, 1924, Marlon Brando had a rough childhood. He grew up in Libertyville, Illinois, with two older siblings and parents, Marlon and Dorothy, who drank excessively and frequently paid him little attention. He was expelled from schools, including the Shattuck Military School, and finally decided to follow his sisters to New York City, where he studied under rhe famous Lee Strasberg at the Actors Studio. In 1944 he performed on Broadway in / Remember Mama; then in 1946 did such a stunning job in Truckline Cafe that New York theater critics voted him Broadway’s Most Promising Acror. It was not long after chat he gave his outstanding stage performance in the intense and complex role or Stanley Kowalski in Tennessee Williams\A Streetcar Named Desire (1947).
Ready for the challenges of film, Brando headed to Hollywood and was given his first role in The Men (1950). To prepare for his part as a paraplegic, Brando stayed in a veterans’ hospital for a month. In 1951 he played his Kowalski part again, this time for film, and earned magnifieent critical response and his first Academy Award nomination. He received the next three nominations for movies that closely followed—Viva Zapata! in 1952, Julius Caesar m 1953, and On the Waterfront in 1954. His portrayal of the lost young man turned hero in On the Waterfront won him not just the nomination but his first Academy Award for Best Actor. In the same year that the film was released, Brando also played the bittetly angry and misunderstood motorcycle gang leader in The Wild One, a cinematic landmark role that ushered in similar undaunted characters in other biker films and movies such as Rehel Without a Cause and Easy Rider. Already, however, Brando had a reputation for being difficult to work with.
Through the 1950s Brando appeared in some films that were unsuccessful. Bui he unleashed his acting scope, working in a diversity of parts such as Napoleon in De$irefe(1954), a singing and dancing role as a gambler in Guys and Dolls (1955), and as a Japanese interpreter who may be homosexual (a most risky part in light of Brando’s previously established film image) in The Teahouse of the August Moon (1956). His role in Sayonara as an American airman who becomes romantically involved with a Japanese actress won him yet another Oscar nomination in 1957- From 1957 to 1959 he was in a difficult marriage with actress Anna Kashfi. With her he had a son, Christian. In I960 he married Mexican actress Movita Castenada, with whom he had two children, Miko and Rebecca, before they split up.
The actor made his first attempt at directing when he cook over from Stanley Kubrick midway through the production of One-Eyed Jacks. He also acted in that 1961 film, which some critics consider a gem of a western. Soon after came Brando’s role in MGM’s remake of Mutiny on the Bounty in 1962, a failed production that not only was grossly overbudget but that drew few to the box office. By now the rambunctious actor had himself lost much control, having tantrums on the set and attempting too many improvisations. In his personal life he was overindulging in women and food (in die mid-1990s he would weigh more than 300 pounds). In 1966 he purchased the Polynesian atoll of thirteen islands known as Tetiaroa. He lived there with his third wife, Tarita Teripaia, the actress he worked with in Mutinty on the Bounty. They had a son, Tehotu, and a daughter, Cheyenne. While information about Brando’s relationships with women is limited, it is believed that he also had two or three children with his Guatemalan housekeeper, Christina Ruiz, and thac he had three other children from affairs as well. The 1960s also was a time when Brando failed upon experimenting with a new venue—comedy. His roles in two comedies nearly ruined him.
The actor’s resurrection occurred in 1972, when he gave an outstanding performance in Francis Ford Coppola’s film The Godfather, winning him another Oscar. Brando did not attend the award ceremonies but instead sent an actress depicting a Native American to the stage to decline the award as a protest against the Native American plight. The following year, he appeared in Last Tango in Parii, the highly controversial film that initially was X-rated and that brought him another Oscar nomination. From there, Brando slowed down.
He appeared in the intense Apocalypse Now in 1979 and years later was nominated for an Academy Award for Best Supporting Actor for^ Dry White Season (1989). He also took small parts if directors offered him an excessive salary. He costarred with Johnny Depp in Don Juan DeMarco in 1995, giving a strong performance. When he worked on The Island of Dr. Moreau (1996), he reportedly told others on the set that they should just go home because the film would be poor, a prediction that unfortunately would hit the mark.
In 2001 Brando costarred in The Score, along with Robert De Niro, Edward Norton, and Angela Bassett; on the set he was said to have been a thorn in the side of director Frank

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THOMAS SULLY
(1783—1872)

While Vanderlyn’s unsuccessful attempt to transplant the classical tradition onto American soil was only an episode, the introduction of romanticism was more successful. It took root in America and assumed a national character. Romanticism was basically a reaction against the growth of bourgeois relations. The disillusionment in bourgeois rationalism led American romanticists to fantasy, religion and the ideal world of nature. An influential pioneer of the romantic movement in American painting was Washington At’liston (1779—1843) who seriously concerned himself with fantasy, mysticism and the awe-inspiring grandeur of nature.
The rising romantic tendency had its effect on the portraiture of the period. Portrait painting retained its predominance well into !he nineteenth century. The 1812—1814 war with England promoted of portrait painting and widened its flow. A new generation of painters, who had deeply absorbed the brilliant experience of Gilbert Stuart, replaced the more old-fashioned masters like Ralph Earl or Rembrandt Peale. The leading romantic portraitist of this generation was Thomas Sully, He was in the United States what Sir Thomas Lawrence was in England, the creator of a romantic portraiture of mood, elegant, reflective, tinged with sweetness and melancholy, and was immensely popular. His portraits were always easy and decorative and sometimes highly perceptive. His best works Joseph Dugan (1810}, Dr. Samuel Coates (1812), Major Thomas Biddle (1818), Thomas Jefferson were painted during the earlier period of his activities. They are noted for the loose and fluent brushwork, elegance of pose and freshness of complexion.
Of particular interest are the informal portraits of his children, such as the Torn Hat of 1820, depicting his son Thomas. This painting is one of the most famous in American art. Here Sully has treated the subject as genre, and despite a winsome quality, avoids sentimentality.
In the thirties, when a general decline of American art was brought about by the advent of “Jacksonian democracy”, he lost much of his earlier realism by complying with the tastes of the upper middle class of the period. “Resemblance in a portrait is essential,” he once said, “but no fault will be found with the artist at least by the sitter — if he improve the appearance.” His portraits became glittering images, alive with dashing forms and startling contrasts of light and shade, they were decorative, insubstantial, refined but often sentimental and sweet, his female portraits in particular. Sully was a prolific artist, he produced about five hundred “fancy” pictures and two thousand portraits the best of which reveal technical ability, elegance and a romantic bent, but too many of them were pot-boi!ers, the likeness of Andrew Jackson (1845), for instance.
Samuel Coates
Characteristic of Sully’s earlier style is the solidly impressive Samuel Coates, combining a straightforward rendering of personality and a new sophistication in the handling of an unusual, even daring composition for the time and place. The full-length figure in a spacious interior bathed in both light and air is well realized and painted with grace and assurance. His later portraits are more floridly romantic and earned him the designation of the “Lawrence of America”. With time he became more superficially fluent and spirited in his brushwork in the manner of the English master but without the latter’s brilliance.
(Milton W. Brown. American Art to 1900)