Benjamin West: A Quaker Painter Pays It Forward（含中文）-YVONNE MARCOTTE 撰文

When Benjamin Franklin loaned money to a man in 1784, he made this request: “When you meet with another honest Man in similar Distress, you must pay me by lending this Sum to him.” In other words, Franklin did not want to be paid back; he wanted that man to help someone else in the same way.

Early American artist Benjamin West (1738–1820) had a strong friendship with Franklin. West was raised in a Pennsylvania Quaker community that practiced mutuality and trust; he got his start as an artist from these and other goodhearted people. And he never forgot.

Native Americans taught West how to make paint by mixing riverbank clay with bear grease. Influential people in the Pennsylvania colony soon saw what West could do with his natural talent. Gunsmith William Henry took him under his wing and encouraged him to make a painting of an engraving. This work caught the attention of William Smith, provost of the College of Philadelphia, who offered West an education and connections with important colonials.

Wealthy Pennsylvania merchants saw great promise in the young Quaker who could draw and paint. Two colonials paid for his trip to Italy for more training: William Allen, mayor of Philadelphia and later provincial chief justice, and William Smith. There, the young artist learned the painting techniques of Italian masters. He also studied the theories of art critic Johann Winckelmann on neoclassicism and his quest for ideal beauty through a study of classical art.

Self-portrait, circa 1763, by Benjamin West (after Benjamin West, 1776). The National Gallery of Art; currently at the Baltimore Museum of Fine Art.（公有领域Public Domain）

West learned about more advanced painting techniques from British colonist John Wollaston. These techniques included proficiency at painting satin fabric and almond-shaped eyes.

An American in London

West moved to London and settled there in 1763. It was a happening place when he arrived and by 1768 the Royal Academy of Arts was founded, with Joshua Reynolds as its first president. England was producing gifted artists doing impressive work: Thomas Gainsborough, John Constable, and of course, Reynolds.

West made his name in London by painting historical scenes in the neoclassical style. But he supported his family by painting portraits of wealthy aristocrats, who were drawn to his natural charm and talent. Soon he drew the attention of the king and did portraits of the royal family.

West became a favorite painter of King George III (yes, that King George), who eventually appointed him the second president of the Royal Academy of Arts after Reynolds.

Paying It Forward, Artistically Speaking

As West made a name for himself in London, he remembered to pass on his good fortune. He counseled, taught, and befriended three generations of American artists who came to England to study. West provided everything from advice, instruction, and food to money and, in many cases, a job as his studio assistant. His home and studio held a trove of works by the old masters, as well as casts of classical sculptures. Young artists could study his art at a time when no such public collection existed.

The artists who came to West had neither the skills nor the connections to succeed in an artistic career. West used his technical knowledge and experience to train and advise the artists who came to him for help. He taught them “complex multifigure compositions and employed sophisticated glazing techniques,” according to West’s biography on the National Gallery of Art website. His tutoring and advice transformed the work of the young Americans who studied with him.

These students returned to the colonies to document America’s founding in portraits and history paintings. They included some of the greatest painters in American history: Charles Willson Peale, Gilbert Stuart, John Trumbull, Ralph Earl, Washington Allston, Thomas Sully, and Samuel F.B. Morse, among others.

“Benjamin West,” circa 1820, by Thomas Sully (after Charles R. Leslie and after Sir Thomas Lawrence, circa 1820). Pennsylvania Academy purchase, 1864.（公有领域Public Domain）

Three Waves of Young Painters

Among the first wave of young artists to come across the Atlantic was Gilbert Stuart. West welcomed Stuart, who was destitute, into his home in 1775. Under a five-year apprenticeship with West, as well as his considerable influence, Stuart set up his own London studio.

Stuart’s portrait of George Washington shows a detailed shirt ruffle with a more painterly approach to the powdered hair. Stuart was known for a range of flesh tones—rosy pink for cheeks and lips, a slight five o’clock shadow around the mouth, and well-placed highlights at the nose and forehead. He showed an adept technique learned under his mentor’s tutelage.

“George Washington,” 1795, by Gilbert Stuart. Oil on canvas, 29.13 inches by 24.13 inches. Private collection. (公有领域Public Domain)

In the 1780s, another wave of eager students approached West, including John Trumbull, a former mapmaker in the Continental Army. The War for Independence was in full swing, and Trumbull wanted to paint prominent people and battles of the war.

He studied the great neoclassical artists in France as well; there he visited an American scholar and patriot, Thomas Jefferson, who advised Trumbull in his now-famous painting of the signing of the Declaration of Independence.

“The Declaration of Independence, July 4, 1776,” circa 1792, by John Trumbull. Oil on canvas, 20.9 inches by 31 inches. Trumbull Collection to 1832. Yale University Art Gallery, New Haven, Conn. (Public Domain)

Now widely known on both sides of the Atlantic, West accepted a third wave of artists to support around 1809. Among them was a British-born, American-bred artist: Thomas Sully. Sully painted West’s portrait and brought West’s ideas and techniques back to the United States, “providing a foundation for the growth of the arts in America in the Federal period and creating a late eighteenth and early nineteenth century American style of considerable sophistication,” according to West’s biography on the National Gallery of Art website. When he returned to America, Sully applied what he had learned from West in another way: He did not charge students for painting lessons.

Ties of Friendship

In 1783, West began a painting—never finished—of the participants negotiating peace between America and Great Britain after the war. The painting shows five Americans who were sent to negotiate peace terms with Great Britain: John Jay, John Adams, Benjamin Franklin, Henry Laurens, and William Temple Franklin (Benjamin Franklin’s grandson). West painted all the figures from life. The British negotiators would not model for the artist, and so although he had begun the painting in 1783, West never finished the work, which he wished to present to Congress. John Quincy Adams discussed this painting in his diary: “As I very strongly expressed my regret that this picture should be left unfinished.”

“Benjamin Franklin Drawing Electricity From the Sky,” circa 1816, by Benjamin West. Oil on slate, 13.4 inches by 10.1 inches. Philadelphia Museum of Art. (Public Domain)

When Benjamin Franklin was in London, he and West met and became fast friends. To honor Franklin after his death in 1790, West painted a dramatic, but not actual, scene of Franklin showing how lightning generates electricity—a totally new area of study. Supposedly, this dangerous experiment occurred in 1752. “Franklin was aware of the dangers and did not perform this experiment, as pictured in popular literature. Instead, he used the kite to collect some electric charge from a storm cloud, just enough to show that lightning was electrical,” according to the Joy Of Museums website. The painting, in oil on slate, was a study for a larger work that never happened.

West depicted Franklin discovering electricity as given by the divine. Franklin is shown with an aura around his head, seated on clouds. Putti (little cherubs) assist him in drawing electricity from a kite in the sky during a thunderstorm. Two celestial beings are working with scientific instruments on the left. The scene explodes with energy—Franklin’s hair blows, his red cape billows, the kite is whipped among dark clouds. Franklin’s face is a picture of calm confidence; he is unafraid of being electrocuted and calmly accepts the assistance of the heavenly beings.

West and Franklin maintained close ties throughout the rest of their lives, even after Franklin returned to America.

The Quaker community that originally nurtured West paid it forward to their country as well. Quakers are reputed to have introduced the Bill of Rights and Constitution to the new government.

What West, Franklin, and the Quakers practiced could be what today is known as a “gift economy.” Giving so the recipient passes on the good fortune has been found to benefit those who give and those who receive. Every community can benefit from the example of the Quaker artist who paid it forward threefold and more.

把善傳出去：貴格會畫家本傑明‧韋斯特的故事-YVONNE MARCOTTE 撰文／吳約翰編譯

1784年，當本傑明‧富蘭克林（Benjamin Franklin）借錢給某人時，他提出了一個要求：「爾後如果你遇到另一位身處相似困境的老實人時，你就把這筆錢借給他，代替償還給我的錢」。換句話說，富蘭克林不想拿回借出去的錢；相反地，他希望借錢的那個人，也以同樣的方式去幫助需要的人。

美國早期藝術家本傑明‧韋斯特（Benjamin West）（1738─1820）與富蘭克林有著深厚的友誼。韋斯特在賓夕法尼亞州的一個（基督教）貴格會社區（Pennsylvania Quaker community，譯註：基督教新教的一個派別）長大。貴格會實行互助與信任，韋斯特之所以成為藝術家，是因為受到這些善良人的影響。他也始終銘記在心。

北美洲的原住民教韋斯特將河岸粘土與熊脂（古時美洲人常用，類似豬油）混合，製成繪圖的顏料。當時賓夕法尼亞殖民地一位有影響力的人士很快就看到了韋斯特的天賦。製槍工匠威廉‧亨利（William Henry）將韋斯特納入麾下，鼓勵他創作一幅版畫。這幅作品引起了費城學院教務長威廉‧史密斯（William Smith）的註意，他提供韋斯特進修的機會，並將他介紹給殖民地的重要人士。

富有的賓夕法尼亞商人看到這位擅長繪畫的年輕貴格會教徒很有前途。兩位殖民地重要人物，費城市長暨省的首席大法官威廉‧艾倫（William Allen）和費城學院教務長威廉‧史密斯，幫他支付了前往意大利受訓的費用。在意大利，這位年輕的藝術家學習意大利大師們的繪畫技巧。除此，他還研究藝術評論家約翰‧溫克爾曼（Johann Winckelmann）關於新古典主義的理論，以及他藉由研究古典藝術對理想的美的追求。

本傑明‧韋斯特的作品自畫像，約1763年創作（1776年本傑明‧韋斯特再次繪製）。油畫。國家美術館；目前典藏於巴爾的摩美術館。（公有領域）

韋斯特從英國殖民者約翰‧沃拉斯頓（John Wollaston）那裡學到了更高階的繪畫技巧。這些技巧包括熟練繪製緞面織物和杏仁狀眼睛等。

移居倫敦的美國人
韋斯特於1763年移居倫敦並定居下來。在他抵達之際，當時的倫敦可以說是個非常時髦的城市。到1768年，英國王家藝術學院（the Royal Academy of Arts）成立，約書亞‧雷諾茲 (Joshua Reynolds) 擔任第一任院長。當時的英格蘭出現了很多才華洋溢的藝術家，創作出很多令人印象深刻的作品，包括：托馬斯‧庚斯博羅（Thomas Gainsborough）、約翰‧康斯特勃（John Constable），當然還有約書亞‧雷諾茲。

韋斯特以新古典主義風格繪製歷史場景，在倫敦開始成名。然而，他還需要替有錢的貴族繪製個人肖像賺取家計。這些貴族很欣賞他天生的魅力和才華。很快地，他獲得國王的註意，開始為王室繪製肖像。

韋斯特後來成為喬治三世國王（沒錯，就是前任英王喬治）最喜歡的畫家之一，喬治三世最終任命他為繼雷諾茲之後的第二任王家藝術學院院長。

讓善傳下去
當韋斯特在倫敦聲名大噪時，他依然記得要將他擁有的福氣傳遞下去。他協助前來英國求學的三個世代的美國藝術家都能獲得諮詢、學習和結交朋友。韋斯特提供了一切支援，從建議、指導、食物到金錢都有。也經常提供他的工作室助理的職務幫助需要的藝術家。此外，他的住家和工作室收藏了大量古代大師作品，以及古典雕塑品。年輕藝術家們剛好可以一次飽覽並研究這些藝術，因為當時這樣的公共收藏並不存在。

前來向韋斯特求助的藝術家既沒有很好的繪畫技巧，也沒有成功的藝術職業生涯。韋斯特利用他的專業知識和經驗培育和指導這些向他尋求幫助的藝術家。根據國家美術館網站有關韋斯特傳記，他教導藝術家們「複雜的多重構圖，以及運用古典高難度的罩染技法（glazing techniques）」。在他的指導和建議下，這些年輕藝術家的繪畫功力都大大提升。

這些學生返回到殖民地美國後，用肖像和歷史故事繪製記錄美國的建國事蹟。他們當中包括美國歷史上最偉大的畫家：查爾斯‧威爾遜‧皮爾（Charles Willson Peale）、吉爾伯特‧斯圖爾特（Gilbert Stuart）、約翰‧特朗布爾（John Trumbull）、拉爾夫‧厄爾（Ralph Earl）、華盛頓‧奧爾斯頓（Washington Allston）、托馬斯‧蘇利（Thomas Sully）和塞繆爾‧摩斯（Samuel F.B. Morse）等。

托馬斯‧蘇利的作品《本傑明‧韋斯特》（Benjamin West），約1820年創作。油畫。後來的查爾斯‧萊斯利和托馬斯‧勞倫斯爵士，也都相繼在1820年左右，各自繪製一幅本傑明‧韋斯特的肖象（Charles R. Leslie and Sir Thomas Lawrence）。本畫作由賓夕法尼亞學院於1864年收購。（公有領域）

三波美國年輕畫家相繼跨海拜師

第一批橫渡大西洋的年輕藝術家是吉爾伯特‧斯圖爾特（Gilbert Stuart）。1775年，韋斯特歡迎當時一貧如洗的斯圖爾特到家中作客。在韋斯特身旁擔任學徒五年，深受影響的斯圖爾特最終在倫敦建立了自己的工作室。

斯圖爾特為喬治華盛頓繪製的肖像展示出襯衫褶邊的細節，而針對白色粉狀的髮型，則運用繪畫獨到的技法，以輕柔的方式上色，展現出清晰可見的筆觸。此外，斯圖爾特也擅長表現多種膚色，包括臉頰和嘴唇呈玫瑰紅；嘴巴四周有些許的鬍渣；鼻子和前額的光澤突顯處，能恰到好處地拿揑。在韋斯特的指導下，斯圖爾特展現出熟練的繪畫技巧。

吉爾伯特‧斯圖爾特的作品《喬治‧華盛頓》(George Washington），1795年創作。布面、油畫，29.13英寸x24.13英寸。私人收藏。（公有領域）

到了1780年代，另一批充滿熱情的學生也跨海前來向韋斯特請益，其中包括前殖民地大陸軍（the Continental Army）的地圖繪製者約翰‧特朗布爾（John Trumbull）。當時獨立戰爭如火如荼的展開，特朗布爾想描繪戰爭中傑出的人物和各地發生的戰役。

特朗布爾還研究了法國偉大的新古典主義藝術家；在那裡，他拜訪了美國愛國學者湯瑪斯‧傑弗遜（Thomas Jefferson）。傑弗遜給特朗布爾的畫作提供了一些建議，成就了現在著名的《獨立宣言》作品。

約翰‧特朗布爾的作品《1776年7月4日獨立宣言》（The Declaration of Independence, July 4, 1776），約1792年創作。布面、油畫，20.9英寸x31英寸。特朗布爾收藏至1832年。耶魯大學美術館，康乃狄克州紐哈芬市。（公有領域）

韋斯特的好名聲，在大西洋兩岸早已廣為人知。1809年左右，他繼續支持前來倫敦的第三波美國藝術家們。其中，有一位叫做托馬斯‧蘇利的藝術家，出生於英國，但卻在美國長大。蘇利替韋斯特繪製個人肖象，並將韋斯特的想法和繪畫技巧帶回美國，根據國家美術館網站上韋斯特傳記指出，「他為聯邦時期的美國藝術發展奠定了基礎，並創造出18世紀末和19世紀初期，相當精緻且有品味的美國藝術風格」。蘇利返回美國後，根據他從韋斯特那裡學到的東西，也以自己的方式回饋社會，例如，他從不向學生收取學習繪畫課的費用。

韋斯特與富蘭克林的友誼

1783年，韋斯特開始繪製一幅至今「從未完成」的畫作。它是一幅描繪美國和英國的使節共同參與戰後的和平協議。這幅畫展示五名前往英國談判和平條款的美國人，包括：約翰‧傑伊（John Jay）、約翰‧亞當斯（John Adams）、本傑明‧富蘭克林（ Benjamin Franklin）、亨利‧勞倫斯（ Henry Laurens）和富蘭克林的孫子威廉‧坦普爾‧富蘭克林（William Temple Franklin）。韋斯特畫出現實生活中的所有人物，然而，因為英國談判代表不願意擔任模特兒，所以儘管他於1783年開始繪製這幅作品，但是，韋斯特從未能如願將這幅作品獻給美國國會。美國第六任總統約翰‧昆西‧亞當斯 (John Quincy Adams) 在他的日記中提到了這一幅畫：「我對這幅未完成的畫作深感遺憾」。

本傑明‧韋斯特在1816年的作品《本傑明‧富蘭克林從天空汲取電能》局部。石板、油畫，13.4英寸x10.1英寸。費城藝術博物館。（公有領域）

本傑明‧富蘭克林旅居倫敦時跟韋斯特結為密友。為了紀念1790年去世的富蘭克林，韋斯特繪製了一個不真實但卻充滿戲劇性的場景，展示出一個全新的研究領域：閃電如何產生電力。這幅作品是假想這個危險的實驗發生在1752年。根據線上虛擬博物館網站the Joy Of Museums的記載，「富蘭克林意識到了危險，並沒有進行這個實驗，如同流行文學中所描繪的那樣。但取而代之的是，他用風箏從暴風雲中收集了一些電荷，這就足以證明閃電是帶電的」。這幅石板油畫是描述一件大規模、且從未發生的研究實驗。

韋斯特描繪富蘭克林發現的電力是由上天所賦予的。畫面裡，富蘭克林坐在雲層上，頭部環繞著光環。一旁有幾位小天使，在雷雨中幫助他從天空中的風箏身上汲取電力。左邊的兩個天人正在使用科學儀器。場景充滿能量，例如，富蘭克林的頭髮隨風飄揚，他的紅色鬥篷像波浪般翻騰，而風箏在烏雲中也像是被快速攪動著。富蘭克林的表情充滿平靜與自信，他不怕觸電，安穩地接受天人的幫助。

韋斯特和富蘭克林在他們的餘生一直保持著密切的聯繫，甚至在富蘭克林回到美國之後也是如此。

最初培育韋斯特的貴格會社區，也對他們自己的國家傳遞了善。眾所周知，貴格會向新的美國政府介紹了《權利法案》和《憲法》。

韋斯特、富蘭克林和貴格會信徒們，在當時所實踐的可能就是我們今天所謂的「禮物經濟」（gift economy）的概念。給予，讓接受者也將好運傳遞，這個做法其實有利於當初給予和接受的人。每個地區都可以從貴格會藝術家們的例子中受益，將更多的善意傳遞下去。（新唐人）原文：Benjamin West: A Quaker Painter Pays It Forward刊登於英文《大紀元時報》。