MS01.01.03.B01.F25.011

11

Thus it seems safe to single Johnston out as an important portraitist
of the period as well as a sensitive artist whose paintings to quote
one writer, "....reveal great clarity, a fine sense of composition,
and an innate capability to coordinate visual images into aesthetically
satisfying linear patterns." 8

Johnson painted portaits of wealthy Maryland and Virginia
families, usually sea merchants, ladies and gentlemen often with
their [crossed out: children] siblings. (Slide #14. [u]McCormick Family[/u])
His sitters were [crossed out: usually] white, well attired, and regular
posed to show a three-quarter view of the face. (Slide #15 - [u]Lady
on Red Sofa[/u]) His work registered a sense of confidence and order
about which he modestly spoke when, on December 19, 1798, he
placed the following advertisement in the [u]Baltimore Intelligencer[/u]:

"Portrait painting....as a self-taught genius,
deriving from nature and industry his knowledge
of Art...experienced many unsuperable obstacles
in the pursuit of his studies, it is highly
gratifying to him to make assurances of his
ability to execute all commands, with an
effect, and in a style, which must give satisfaction.
Apply at House, in the alley leading from
Charles to Hanover Street, back of Sear's Tavern." 9

[stop here]

Johnson's formula for painting people in a setting which
emphasized their dignity and a genuine sense of pride and
accomplishment was by no means a new phenomenon in American
art for he no doubt learned much of his craftsmanship from
observing the art of James [crossed out: William] Willson Peale
whose portraits were admired as far away as Europe.
But other artists were to follow his example and paint images of