Hercules and Antoneus; Fall of Phaetor (Icarus?); Classical Architecture; Sacrifice of Isaac [?] (after Rembrandt?) (from Sketchbook)

Art Historical Context

This lively sketchbook page from Thomas Sully's hand, dated around 1810–20, captures the imagination of a burgeoning American artist drawing from classical mythology, biblical narratives, and architectural grandeur. Titled *Hercules and Antus; Fall of Phaetor (Icarus?); Classical Architecture; Sacrifice of [?] (after Rembrandt)*, it features multiple vignettes: the muscular struggle of Hercules with his foe, the dramatic plunge of Phaeton (perhaps evoking Icarus's fateful flight), stately classical ruins, and a possible echo of Rembrandt's poignant *Sacrifice of Isaac*. Rendered in ink and wash on paper (9 x 11½ in.), these quick studies reveal Sully's exploratory spirit. As a leading American portraitist of his era, Sully (1783–1872) bridged European traditions with New World ambition, often sketching to refine compositions for larger works. Housed in The Metropolitan Museum of Art's American Wing (Rogers Fund, 1953), this piece highlights ink wash's fluid versatility—allowing bold contrasts and atmospheric depth on a modest scale. It underscores early 19th-century American artists' fascination with heroic antiquity and Old Masters like Rembrandt, blending neoclassical vigor with romantic drama for an emerging national identity. A window into Sully's creative process, it invites visitors to ponder timeless tales of strength, hubris, and faith.

About the Artist

Thomas Sully · 1783–1872

Thomas Sully, born on June 19, 1783, in Horncastle, Lincolnshire, England, to actor parents Matthew Sully and Sarah Chester, emigrated with his family to Charleston, South Carolina, in 1792. Raised in a theatrical environment, young Thomas debuted as a tumbler at age 11 before discovering his artistic talent. He studied miniature painting with his brother Lawrence Sully, brother-in-law Jean Belzon...