The intricate dance of art and commerce between Britain and the United States during the American Revolution is a captivating tale of cultural exchange, economic interplay, and artistic evolution. While the political landscape was fraught with tension, the art trade between the two nations thrived, offering a unique perspective on the era. This article delves into the fascinating story of how artists navigated the complexities of war, economic disparities, and cultural influences, leaving an indelible mark on both sides of the Atlantic.
A Complex Web of Trade
The art trade between Britain and the US during the American Revolution was a complex web of exchange, with artists and merchants navigating political tensions and economic realities. Benjamin Franklin's letter to Charles Willson Peale in 1771 reflects a broader sentiment of the time, suggesting that the arts would flourish in the New World as the population grew wealthier. However, the economic reality was quite different. Recent research reveals that American income per head actually exceeded Britain's until the Revolutionary War, challenging the long-held belief that this didn't happen until the 1880s.
London merchants referred to New England as 'the greate martt and staple' as early as 1676, highlighting the economic significance of the region. Britain imported a third of its goods from America, more than from Europe, while exporting slightly less. The art trade, being dependent on surplus wealth, mirrored this dynamic. London's art and collectables exports in the 1760s and 70s flowed to New York, Pennsylvania, New England, and other colonies, with few imports returning.
However, the Revolution took its toll. By 1800, US income per head had declined by 20%, a fall comparable to the Great Depression. The Anglo-American art trade shrank between 1775 and 1779 before reviving in New York in 1780, but it never reached the scale of Britain's trade with Europe and the East Indies.
Artists' Choices and Calculations
Artists at this time had to make difficult choices, balancing political allegiances and economic considerations. Most gravitated towards stable, prosperous markets, often sidestepping politics to avoid alienating patrons. Johan Zoffany, a founding member of the Royal Academy (RA), voiced unease about the American war to an English patron in 1779, shortly before seeking his fortune in India. John Singleton Copley, on the other hand, split his career, spending 20 years in America and 25 years in Britain.
The economic and cultural arithmetic favored Britain. America's economy was roughly a third the size of Britain's, limiting commission opportunities. Britain's wealthy class was far larger, with an annual income of £8,000 typical among peers in 1803, compared to almost unheard-of figures in America. Even reaching Britain cost upwards of £3 for passage, which was about a third of an average American income.
Once in Britain, artists faced challenges like high living costs, especially rent and taxes. London rents doubled between 1740 and 1800, while renting in Boston was a third to a half cheaper. Artists clustered in expensive areas near clients, like Covent Garden for the best native artists, paying a rent premium even over tradesmen.
Taxation and Artistic Choices
Taxation, the spark of the Revolution, also influenced artists' choices. British citizens paid roughly 26 shillings per head annually, compared to about 1 shilling in America. Nearly three-quarters of British taxes were raised through excise and customs, plus land, property, and eventually income tax. America's pre-war taxes covered 17 goods and services but raised only a fraction of the debt they were meant to repay.
Many artists weighed these factors and crossed the Atlantic in both directions. Earlier in the century, John Smibert split his career between London and America, drawn by a new and prosperous clientele. Later, around 30 American artists worked in London, joining an estimated 800 native painters there in 1770.
American Artists in Britain
Some American artists thrived in Britain, achieving success that few native painters could match. Benjamin West, born to modest circumstances in Pennsylvania, became a royal painter in 1772 and the RA's second president in 1792. George III paid him a £1,000 annual stipend plus generous commissions, and William Beckford added a 1,000 guinea stipend. West built a collection spanning Titian, Rubens, and Rembrandt alongside 'patriotic' British and American works.
The two markets also cross-pollinated stylistically. Both developed topographical views, caricatures, and prints, reflecting interest in exploration, protest, and propaganda, tailored to their own audiences. American strides in history painting inspired British artists, particularly when depicting patriotic subjects. West's 'Death of General Wolfe' drew huge crowds at the RA and circulated widely in print.
A Lasting Legacy
The exchanges between Britain and the US during the Revolution helped shape the modern art market on both sides of the Atlantic. American artists remain embedded in British culture, with significant works by West, Copley, Brown, Stuart, Trumbull, and Peale in UK public collections. Meanwhile, the US has gained museums and art academies since the 19th century, showcasing the enduring impact of this era on both nations' artistic landscapes.
In conclusion, the art trade between Britain and the US during the American Revolution was a complex and dynamic interplay of economic, cultural, and political forces. It offers a fascinating glimpse into the era, revealing how artists navigated the challenges of war and economic disparities, leaving a lasting legacy that continues to shape the art world today.
