(piano playing)
Steven: I'm convinced I'm going to follow that man.
Beth: (laughs) I want to come too.
Steven: We're in the Philadelphia Museum of Art-
Beth: Looking at Charles Willson Peale's Staircase Group,
a portrait of two of his sons: Raphaelle and Titian Peale.
Steven: You'll notice that those names are familiar,
he named his children after famous European painters.
Beth: And scientists.
Steven: He was amazing.
Beth: He was an amazing man and this is an amazing portrait.
Normally we think about full size portraits as being images
of kings or the aristocracy or great heroes and here Peale has represented
his two sons beckoning us up a staircase, and this painting was meant
as a show piece for his museum which was the first American museum.
Steven: This was a museum of art and it was a museum of science.
In fact, one of its most famous exhibits were the bones of a mastodon.
You know, it's interesting to think about what a museum of science and art
meant in the early republic.
Here was an attempt to create an institution of education,
here we have this new democracy, this is the first time
since creation of the democracy had existed, it was this grand experiment.
And Peale understood that the populace needed an education
in order to be able to make wise decisions.
Beth: And so Peale founded the Columbianum, the first real American art school,
an antecedent to the Pennsylvania Academy of the Fine Arts
that he was to found about 10 years after that and he founded,
as we said, this first museum.
We've talked about his achievements but we haven't talked
about his playful side which is really in evidence here.
Steven: That's true.
Okay, so this painting is all about illusion-ism and what's most remarkable
is not only the clarity with which his sons are rendered
and this wonderful staircase, but it's the fact that the physical
first step, or first step and a half, seamlessly becomes a painted
environment and we have some trouble figuring out what's what.
Beth: So the first step and the second riser are actually made of wood.
They are real, they are not painted.
Steven: But I can't tell it apart from the third riser.
Beth: Yeah the illusion is incredibly convincing
and in fact this doesn't look like a painting it really looks like a space
that's opening up in the wall of the museum with a staircase
for us to follow them up.
Steven: It looks as if they have been walking up that stair
and then they've turned, perhaps beckoned by their father,
and they have spun around just for a moment-
Beth: "Hold on a second."
Steven: That's right and so there really is this sense of the momentary,
the sense of the physicality of the architectural space.
Oh, and by the way, it's not just the step, but the frame of the painting
looks as if it were an early American door frame.
Beth: That's right and fallen onto the floor carelessly,
but obviously very intentionally, is a ticket to Peale's museum.
Steven: And we have something that is distinctly American here,
art that he's creating for the people.
Beth: I love the way that foreshortened knee pokes out from behind the door
and pops into the light.
Peale's also playing with rounded oval shaped forms against more linear forms.
For example if you look at the round spots of pigment on the pallet,
or the round shapes of the buttons, or the round shapes of their eyes,
even the round shapes on that wallpaper in the background,
balance against the lines of the steps or even the lines
of that vest that he wears.
Steven: So this real play of pattern, of illusion,
it's really a sophisticated painting but it's not a painting
that takes itself too seriously.
It is relaxed, it's inviting and it feels authentic.
Beth: It feels democratic.
Look at how convincing those shadows are and how the shadows
really work to create that illusion.
Not only that painted illusion on that second riser toward the right
but also look at the top figure, you can see that shadow
cutting across his face caused by the door frame.
It's incredibly naturalistic and it follows this European tradition
that art historians refer to as trompe l'oeil, tricking the eye.
Steven: One art historian has called this the first original American painting
and you can see why.
It is this utterly original kind of invention
that plays with our expectations of real and pictorial space,
and also is very much a product of the newly founded nation.
(piano playing)