Peale was born in Philadelphia as the son and first child of Rachel and Charles Willson Peale, a famous portraitist.
Lived in Philadelphia, on a home at the corner of 3rd and Lombard.
Married Martha (Patty) McGlathery at the age of 20.
First first professional exhibition was in 1795 at the age of 21.
Artist. Born Raphaelle Peale in Annapolis, Maryland on February 17, 1774, the fifth child, though eldest surviving, of Charles Willson Peale and his first wife Rachel Brewer. As with all the Peale children, Raphael was trained by his father as an artist. Early in his career, the pair collaborated on portraits. On some commissions, Raphael painted miniatures while his brother, Rembrandt, painted full size portraits.
In 1792, he made a trip to South America in order to collect specimens for the Peale's Museum. In 1797, with his brother Rembrandt, he traveled to Charleston, South Carolina, where they attempted to establish another museum. The plan fell through, however, and Raphael returned to painting miniatures.
He married Martha McGlathery at about that same time, and with her had eight children. For about two years beginning in 1803, Raphael toured Virginia with the ??physiognotrace,' a profile making machine, with which he was briefly successful. In August 1808, he was hospitalized with delirium tremens, exacerbated by severe gout. By 1813, he was unable to walk without crutches. After the downturn in his health, in an era when most artists considered still life a subject worthy only of amateurs, he devoted himself almost exclusively to still life painting. It is for these works he is best known. Raphael Peale is today considered the founder of the American Still Life school. His work was on frequent exhibit at the Pennsylvania Academy of the Fine Arts between 1814 and 1818. After reportedly indulging in a night of heavy drinking, his health destroyed, Raphael died on March 3, 1825 at age 51 at his home in Philadelphia.
Peale's tightly grouped still lifes are often permeated with a delicate melancholy akin to that which characterized the life of the artist; he was an alcoholic who suffered the effects of arsenic and mercury poisoning caused by his work as a taxidermist in his father's museum. His spare, essential style may have been influenced by the Spanish still lifes he studied in Mexico and by the works of Juan Sanchez Cotan, exhibited at the Pennsylvania Academy in 1818. Related Paintings of Raphaelle Peale :. | After the Bath | George Washington | Still Life with Cake | Still Life with Peaches | Boy from the Taylor Family |
Related Artists:John Frederick Peto
John Frederick Peto Gallery
John Frederick Peto (May 21, 1854 ?C November 23, 1907) was an American trompe l'oeil ("fool the eye") painter who was long forgotten until his paintings were rediscovered along with those of fellow trompe l'oeil artist William Harnett.
Although Peto and the slightly older Harnett knew each other and painted similar subjects, their careers followed different paths. Peto was born in Philadelphia, Pennsylvania, and studied at the Pennsylvania Academy of the Fine Arts at the same time as Harnett. Until he was in his mid-thirties, he submitted paintings regularly to the annual exhibitions at the Philadelphia Academy. In 1889, he moved to the resort town of Island Heights, New Jersey, where he worked in obscurity for the rest of his life. He and his wife took in seasonal boarders, he found work playing cornet at the town's camp revival meetings, and he supplemented his income by selling his paintings to tourists. He never had a gallery exhibition in his lifetime. Harnett, on the other hand, achieved success and had considerable influence on other artists painting in the trompe l'oeil genre, but even his paintings were given the snub by critics as mere novelty and trickery.
Both artists were masters of trompe l'oeil, a genre of still life that aims to deceive the viewer into mistaking painted objects for reality. Exploiting the fallibility of human perception, the trompe l'oeil painter depicts objects in accordance with a set of rules unique to the genre. For example, Peto and Harnett both represented the objects in their paintings at their actual size, and the objects rarely were cut off by the edge of the painting, as this would allow a visual cue to the viewer that the depiction was not real. But the main technical device was to arrange the subject matter in a shallow space, using the shadow of the objects to suggest depth without the eye seeing actual depth. Thus the term trompe l'oeil??"fool the eye." Both artists enthrall the viewer with a disturbing but pleasant sense of confusion.
Letter Rack by PetoPeto's paintings, generally considered less technically skilled than Harnett's, are more abstract, use more unusual color, and often have a stronger emotional resonance. Peto's mature works have an opaque and powdery texture which is often compared to Chardin.
The subject matter of Peto's paintings consisted of the most ordinary of things: pistols, horseshoes, bits of paper, keys, books, and the like. He frequently painted old time "letter racks," which were a kind of board that used ribbons tacked into a square that held notes, letters, pencils, and photographs. Many of Peto's paintings reinterpret themes Harnett had painted earlier, but Peto's compositions are less formal and his objects are typically rustier, more worn, less expensive looking.
Other artists who practiced trompe l'oeil in the late nineteenth century include John Haberle and Jefferson David Chalfant. Otis Kaye followed several decades later.
A pioneering study of Peto and Harnett is Alfred Frankenstein's After the Hunt, William Harnett and Other American Still Life Painters 1870-1900. Frankenstein's book itself is a fantastic tale of solving the mystery of why these artists were forgotten for much of the twentieth century.Aby Altson
Australian Classicist Painter,
painted Lekande barn - sommar pa fabodvallen in 1890