The Creation of The Portrait:
With Phillis Wheatley’s writing career beginning to take off, she and her masters
hired an enslaved, African man named Scipio, to paint a portrait of her
that displayed her as religious and intelligent and represented her race as a
whole in a positive way.[31] He created an ink portrait of Phillis, as requested, which became his only
surviving work as well as the only existing image of Phillis Wheatley created by
a contemporary artist.[32] The painting eventually was copied and put on the
cover of Phillis’ original poetry novel: “Poems on Various Subjects: Religious
and Moral.”[33] Scipio was the first African visual artist to enter colonial
records with a painted portrait that he created, and Phillis was the first
African to be in a published portrait.[34] Scipio’s art must have been an inspiration to African Americans,
because it showcased the master talents of two enslaved persons.
hired an enslaved, African man named Scipio, to paint a portrait of her
that displayed her as religious and intelligent and represented her race as a
whole in a positive way.[31] He created an ink portrait of Phillis, as requested, which became his only
surviving work as well as the only existing image of Phillis Wheatley created by
a contemporary artist.[32] The painting eventually was copied and put on the
cover of Phillis’ original poetry novel: “Poems on Various Subjects: Religious
and Moral.”[33] Scipio was the first African visual artist to enter colonial
records with a painted portrait that he created, and Phillis was the first
African to be in a published portrait.[34] Scipio’s art must have been an inspiration to African Americans,
because it showcased the master talents of two enslaved persons.
Scipio's Background:
Scipio Moorhead, the man who possessed the artistic mind behind the exquisite portrait
of Phillis Wheatley, had a story very similar to Phillis’. Scipio, much like
Wheatley, was taken from his family in Africa as a young child.[35] He was sold
into slavery and bought by Reverend John Moorhead of Boston’s Presbyterian
Church.[36] His life compared to most slaves who shared his misfortune, was
simple. Most were forced to endure hard labor by their cruel masters.[37] But
luckily, the usual labor of the enslaved was not something Scipio had to deal
with.[38] Instead, he was allowed to find work, only with the small price of
having to share his earnings with his owners, and he was given proper
education.[39] His journey to becoming an artist began with formal instruction
from the reverend’s wife, Sarah.[40] Sarah had been trained to become an artist
herself when she had travelled to Europe, which caused Moorhead to stray from
folk artwork and focus more on European styles.[41] Once his ability to do
incredible things with a paintbrush became apparent, Mrs. Moorhead passed
on her knowledge to Scipio. Scipio spent his free time both painting and writing verse,
and learning new techniques to cultivate his gifts.[42] All of Scipio’s hard work was eventually paid off
when the Wheatleys hired him to paint a sophisticated portrait of Phillis, and
he and Phillis were equally lucky to have such successful lives.
Scipio's Connection to Phillis:
Scipio and Phillis connected in ways that related to their work and in ways outside of
their careers. Both having been Bostonian slaves with surprising success in their
careers, it is not surprising that they were friends. [43] The two would
exchange art and verse, and were intrigued by each other’s
talents.[44] Phillis of course went to Scipio when in need of a portrait, and then went on to use it
as the cover of her very own published book. Her gratitude for Scipio’s
time and effort put into the beautiful portrait was endless, and she expressed
it in her book. Among the many lyric poems was one called: ʺTo S.M., A Young
African Painter, on Seeing his Works.”[45] In it she went on for many lines
about the talent and beauty shown in Scipio’s art.[46] At one point she says:
“And thought in living characters to paint,/ When first thy pencil did those beauties
give,/ And breathing figures learnt from thee to live,/ How did those prospects
give my soul delight,/ A new creation rushing on my sight!”[47]
This poem was only one example of the numerous praise Phillis awarded
Scipio with. The two prodigies’ appeared to have been close friends.
their careers. Both having been Bostonian slaves with surprising success in their
careers, it is not surprising that they were friends. [43] The two would
exchange art and verse, and were intrigued by each other’s
talents.[44] Phillis of course went to Scipio when in need of a portrait, and then went on to use it
as the cover of her very own published book. Her gratitude for Scipio’s
time and effort put into the beautiful portrait was endless, and she expressed
it in her book. Among the many lyric poems was one called: ʺTo S.M., A Young
African Painter, on Seeing his Works.”[45] In it she went on for many lines
about the talent and beauty shown in Scipio’s art.[46] At one point she says:
“And thought in living characters to paint,/ When first thy pencil did those beauties
give,/ And breathing figures learnt from thee to live,/ How did those prospects
give my soul delight,/ A new creation rushing on my sight!”[47]
This poem was only one example of the numerous praise Phillis awarded
Scipio with. The two prodigies’ appeared to have been close friends.