Paper

Student Artwork Guide

James Monroe

Name Class Date

Gilbert Stuart Newton, James Monroe (1820), Metropolitan Museum of Art. Public domain. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Gilbert Stuart Newton wahooart.com/en/artists/gilbert-stuart-newton/
Artist’s dates
1795 – 1835
Painted
1820
Medium
Oil On Canvas
Original size
102 x 81 cm
Movement
Neoclassical A deliberate return to the calm balance and clear outlines of ancient Greek and Roman art.
Period
19th Century
Held at
Metropolitan Museum of Art wahooart.com/en/museums/metropolitan-museum-of-art-new-york/
Artistic style
Neoclassical
Subject or theme
Portrait of James Monroe

In context

James Monroe — Gilbert Stuart Newton

How big is it?

The original measures 102 × 81 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1790
  2. 1800
  3. 1810
  4. 1820
  5. 1830

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 40 at death.

Painted when the artist was 25. The artist lived to 40. 11 of the 30 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Gilbert Stuart Newton (1795–1835) ▲ this work, 1820 every dated painting, decade by decade

First works: up to 1815 Main working years: 1815–1825 Late works: from 1825

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: wahooart.com/en/art/similar/gilbert-stuart-newton-james-monroe-D32C4W-en/

Colours

Measured from the image

    Main colour

    Espresso #512812

    Catalogued palette

    • #512812
    • #1F1009
    • #AD9379
    • #7F5B34

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Earthy The dominant colour family in the image.
    Main colour name
    Espresso
    Intensity
    Monochromatic How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Balanced How much the colours differ in lightness and saturation across the picture.
    Harmony
    Strong Color Unity How well the colours work together, from clashing to fully unified.
    Brightness
    Deep_shadow How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Balanced Soft How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Gilbert Stuart Newton over the last twelve months — 5 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 70.0%1,400 visits
    2. 2 United States of America 15.0%300 visits
    3. 3 Belarus 5.0%100 visits
    4. 4 Hong Kong 5.0%100 visits
    5. 5 Singapore 5.0%100 visits

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 18 most looked-at works by Gilbert Stuart Newton

    1. 1 A Dutch Girl ('The Window'), 1829 15.0%300 visits
    2. 2 Olivia's Return, 1828 10.0%200 visits
    3. 3 Abigail Smith Adams (Mrs. John Adams), 1815 5.0%100 visits
    4. 4 The Gentle Student, 1829 5.0%100 visits
    5. 5 Mrs. Andrew Sigourney, 1820 5.0%100 visits
    6. 6 Henrietta Marchant Liston (Mrs. Robert Liston), 1800 5.0%100 visits
    7. 7 George Washington (Vaughan-Sinclair portrait), 1795 5.0%100 visits
    8. 8 Sarah Homes Tappan (Mrs. Benjamin Tappan), 1814 5.0%100 visits
    9. 9 John Bill Ricketts, 1799 5.0%100 visits
    10. 10 Horace Binney, 1800 5.0%100 visits
    11. 11 Captain Joseph Anthony, 1794 5.0%100 visits
    12. 12 Edward Stow, 1803 5.0%100 visits
    13. 13 Commodore Thomas Macdonough, 1818 5.0%100 visits
    14. 14 James DeLancey, 1785 5.0%100 visits
    15. 15 Stephen Van Rensselaer III, 1795 5.0%100 visits
    16. 16 Henry Rice, 1815 5.0%100 visits
    17. 17 George Washington, 1800 5.0%100 visits
    18. — James Monroe, 1820 this painting 0.0%0 visits

    Together these works take 100.0% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 74 works by this artist, of which 17 were looked at at least once. This painting has not been looked at yet in that time — it closes the list without a rank. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    About this artwork

    James Monroe — Gilbert Stuart Newton

    A Portrait of American Statesmanship: James Monroe

    To gaze upon this portrait of James Monroe is to encounter not merely a likeness, but an embodiment of early American political gravitas. Gilbert Stuart Newton captured the fifth President of the United States in a moment that feels both intensely personal and monumentally public. The composition itself speaks volumes about the era's reverence for its leaders; it is a carefully constructed tableau designed to convey authority, intellect, and enduring national character. Monroe, depicted here with his characteristic beard and formal attire, sits amidst symbols of governance—the scattered books and papers upon the desk suggest a mind perpetually engaged in weighty matters of state.

    The Allure of Stuart's Technique and Style

    Newton masterfully channels the grand tradition established by his celebrated forebear, Gilbert Stuart. The technique employed here is one of polished realism blended with an almost theatrical grandeur. Notice the handling of the drapery; the billowing fabric, particularly the strong, pure red curtain behind him, serves as more than mere backdrop—it is a dramatic foil that pushes the figure forward into the viewer's space. This strategic use of color, coupled with Stuart’s signature ability to capture the sitter in a three-quarter pose, gives the portrait an immediate sense of dynamism despite its formal setting. It is a visual echo of the grand Neoclassical style, updated for the burgeoning American republic.

    Historical Resonance and Symbolism

    The year 1820 places this work at a pivotal juncture in American history. Monroe’s career was marked by significant diplomatic achievements, culminating shortly after this painting's completion with the issuance of the famous Monroe Doctrine. The inclusion of these elements—the scholarly clutter, the statesmanlike bearing—are not accidental details; they are symbolic anchors rooting the man to his historical moment. The portrait invites us to contemplate the weight of presidential duty and the intellectual currents that shaped a young nation’s destiny. It is an artifact steeped in the narrative of American self-determination.

    Bringing History Home: Decorating with Legacy

    For the discerning collector or interior designer, this reproduction offers more than just wall art; it offers a conversation piece imbued with cultural weight. The rich tones, dominated by that commanding red, pair beautifully with traditional library settings, formal drawing rooms, or executive offices seeking an infusion of historical elegance. Owning this piece allows one to curate an environment that speaks of enduring taste and deep appreciation for the arts and history. It is a timeless statement, bridging the formality of 19th-century portraiture with the sophisticated demands of modern interior design.

    Artist and museum

    Artist

    Gilbert Stuart Newton

    Gilbert Stuart Newton: Life & Legacy

    Early Life and Family Background

    Birth and Origins: Gilbert Stuart Newton was born on September 2, 1795, in Halifax, Nova Scotia. He was the youngest of twelve children.

    Family Connections: His father, Henry Newton, was a customs official, and his mother, Ann, held a significant artistic lineage – she was the daughter of Gilbert Stuart, the renowned American portrait painter.

    Early Years & Return to America: The family initially resided in Boston but returned to Charlestown near Boston in 1803 following his father’s death.

    Artistic Training and Influences

    Initial Path & Uncle's Guidance: Though initially intended for a commercial career, Newton was apprenticed to his uncle, Gilbert Stuart, marking the beginning of his artistic journey.

    European Studies: He traveled to Europe with an elder brother and studied painting in Florence. Later visits to Paris (1817) introduced him to artists like Charles Robert Leslie, Washington Allston, and David Wilkie.

    Royal Academy & Formal Training: Newton continued his education at the Royal Academy in London after a period spent in the Netherlands.

    Artistic Style and Major Themes

    Romantic Sensibilities: Newton’s work is generally categorized within the Romantic movement, characterized by emotional intensity and dramatic narratives.

    Literary & Poetic Inspirations: He became particularly known for paintings inspired by literature and poetry. Subjects drawn from works like Don Quixote and Shakespeare were prominent in his oeuvre.

    Portraiture & Genre Scenes: While he painted portraits, including those of notable figures such as Washington Irving, Newton also excelled in genre scenes depicting moments from literary narratives.

    Key Achievements and Recognition

    Royal Academy Affiliation: Newton was elected an Honorary Academician of the National Academy of Design (1827), an Associate of the Royal Academy (1829), and a full Academician in 1832.

    Exhibitions & Patronage: He regularly exhibited at the Royal Academy from 1818 onwards, gaining recognition and attracting patrons like the Marquis of Lansdowne.

    Public Collections: His works found their way into prominent public collections, including the National Gallery and the South Kensington Museum (now V&A).

    Later Life and Legacy

    Mental Health & Final Years: Shortly after his election to the Royal Academy, Newton began to suffer from mental illness. He was admitted to an asylum at Chelsea where he continued to paint until his death on August 5, 1835.

    Burial Site: He is buried in St Mary’s Church Wimbledon, London.

    Historical Significance: Though overshadowed by his uncle Gilbert Stuart, Newton carved a niche for himself as a skilled and imaginative artist of the Romantic period. His literary-inspired paintings offer insights into the cultural tastes and artistic trends of 19th-century Britain.

    Museum

    Metropolitan Museum of Art

    On show in new york, United States of America

    A Legacy in Stone and Light

    The Fifth Avenue facade of the Metropolitan Museum of Art beckons visitors into a realm where ancient civilizations resonate alongside modern innovations. The primary building, a magnificent embodiment of Beaux-Arts style completed between 1902 and 1914, exudes an air of classical grandeur. Colossal columns frame the entrance, inviting people into soaring galleries bathed in natural light. This monumental structure was deliberately designed as a homage to European palaces, creating a space that feels both imposing and welcoming. Beyond the main site, The Cloisters offers an intimate serenity in Fort Tryon Park, transporting visitors to medieval Europe through reconstructed chapende and gardens.

    The architecture tells a story of expansion and change. While the current Fifth Avenue location is synonymous with the institution, the museum briefly resided in the Douglas Mansion estate on West 14th Street. The original structure, designed by Calvert Vaux and Jacob Wrey Mould, featured a red-brick facade that remains partially visible today within the Robert Lehman Wing. This glimpse of the past provides a connection to an era when the surrounding area was far from the gilded mansions of the Upper East Side.

    Treasures Across Five Millennia

    Within these halls, one feels the weight of centuries. The collection spans 5,000 years of human creativity, housing over two million art objects. Visitors encounter the imposing Assyrian reliefs, depicting scenes of royal power and divine ritual carved into stone. Greek sculptures embody idealized form and proportion, including the Parthenon Marbles. The museum also holds significant works from diverse cultures:

    Chinese ceramics and intricate Japanese screens.

    African, Oceanic, and American art collections.

    The Cesnola Collection, comprising approximately 35,000 Cypriot art objects.

    A blue-glazed lotus-decorated hippopotamus statuette from Egypt, ca. 1961–1878 B.C.

    The transition from realism to modernism is visible in works like Édouard Manet’s

    Boating

    , which captures leisure on the Seine through its use of light and color. The psychological depth of Rembrandt's 1660 self-portrait offers a study in chiaroscuro, using dramatic shadow to reveal introspection. In the modern galleries, the scale of Jackson Pollock’s

    Autumn Rhythm (Number 30)

    commands attention, with its eight-foot-tall canvas and seventeen-foot length displaying a web of drips.

    Modernity and the Living City

    The museum continues to engage with the present through contemporary artists and large-scale events. Pablo Picasso’s portrait of

    Gertrude Stein

    prefigures his evolution into Cubism, capturing the essence of the American expat community in Paris. Vincent Van Gogh’s

    Self-Portrait with a Straw Hat

    remains a focal point, where intense eyes are encircled by controlled brushstrokes. The institution also recognizes contemporary figures such as Wangechi Mutu, whose humanoid sculptures occupy niches on the museum's facade.

    Beyond the permanent galleries, the museum serves as a center for social and cultural gatherings. The annual Met Gala, held on the first Monday in May, brings fashion designers and celebrities to Manhattan for an evening of glamour. On other nights, programs like

    Date Night at the Met

    occur every Friday and Saturday, ensuring the halls remain a vital part of New York life. Through conservation laboratories and digital initiatives, the museum safeguards its vast holdings for future generations.

    Where to read more

    Find this online

    QR code linking to the download page for James Monroe

    wahooart.com/en/art/download/gilbert-stuart-newton-james-monroe-D32C4W-en/

    Cite this artwork

    MLA
    Newton, Gilbert Stuart. James Monroe. 1820, Metropolitan Museum of Art. https://wahooart.com/en/art/gilbert-stuart-newton-james-monroe-D32C4W-en/
    APA
    Newton, Gilbert Stuart (1820). James Monroe [Painting]. Metropolitan Museum of Art. https://wahooart.com/en/art/gilbert-stuart-newton-james-monroe-D32C4W-en/
    Chicago
    Gilbert Stuart Newton. James Monroe. 1820. Metropolitan Museum of Art. https://wahooart.com/en/art/gilbert-stuart-newton-james-monroe-D32C4W-en/
    Harvard
    Newton, Gilbert Stuart (1820) James Monroe. Metropolitan Museum of Art. Available at: https://wahooart.com/en/art/gilbert-stuart-newton-james-monroe-D32C4W-en/

    Look closely

    James Monroe — Gilbert Stuart Newton

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: james monroe, president, portrait. Do you agree? What would you add, or take away?
    4. Look back at George Washington (1795), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Neoclassical: A deliberate return to the calm balance and clear outlines of ancient Greek and Roman art. Where can you see that in this work?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Art quiz

    James Monroe — Gilbert Stuart Newton

    How well do you know this artwork?

    Tick one answer for each of the 5 questions below. Each has exactly one correct answer.

    1. 1. What is the primary subject of Gilbert Stuart’s painting, ‘James Monroe’?

      • A A portrait of James Monroe, the fifth President of the United States.
      • B A landscape depicting a Virginia estate.
      • C An abstract representation of American ideals.
    2. 2. The painting ‘James Monroe’ exemplifies Stuart's use of which artistic technique?

      • A Pointillism, creating a textured effect through small dots.
      • B Strong, pure red used to create dramatic lighting and highlight key features.
      • C Fresco painting on wet plaster.
    3. 3. According to the description, what historical event is prominently referenced in ‘James Monroe’?

      • A The Louisiana Purchase.
      • B The Monroe Doctrine
      • C The War of 1812.
    4. 4. What is the approximate size of the painting ‘James Monroe’?

      • A 50 x 40 cm
      • B 102 x 81 cm
      • C 76 x 63 cm
    5. 5. Gilbert Stuart Newton’s artistic style is often compared to which other artist?

      • A Diego Velázquez
      • B Francisco Goya
      • C Rembrandt van Rijn

    My score: ____ out of 5

    Answer key — for the teacher

    This starts a fresh printed page, so it can simply be left out of the copies.

    1A · 2B · 3B · 4B · 5B

    Check any answer against the catalogue record for this painting

    Questions & Answers

    What does "James Monroe" by Gilbert Stuart Newton bring to an interior?

    "James Monroe" by Gilbert Stuart Newton has an elegant atmosphere and is recommended for a living room. The mood is what the work brings to the space around it.

    What mood and emotion come together in "James Monroe"?

    In "James Monroe", an elegant mood accompanies a reflective emotion.

    Can I see an X-ray view of "James Monroe" by Gilbert Stuart Newton?

    "James Monroe" can be examined layer by layer on the artwork's X-Ray page, a viewer inspired by a conservator's light bench with eleven optical readings of the image.