Joseph Siffred Duplessis “VIR”, a portrait of Benjamin Franklin

Joseph Siffred Duplessis composed “VIR”, a portrait of Benjamin Franklin in Carpentras, France around 1778 (Fig. 1.) It was destined to become the artist’s most famous work and perhaps the best known image of Franklin; who represented the American patriot and the rebellion against England. The image was produced with oil paints on a picture plane of canvas, which is oval in shape, and measures at 28-1/2” x 23.”The portrait of Franklin represents the modest way he chose to live his life; while the frame symbolizes a greatly revered public figure. This depiction of Franklin comes across as more of a historical documentation, as to who Franklin was; rather than showing his wealth and importance in the world. The dullness and simplicity in this portrait reflects the unpretentious views Franklin had of himself.

Fig. 1. Joseph Siffred Duplessis, Portrait of Benjamin Franklin, The Met, NYC, NY. Reproduced from The Met, http://www.metmuseum.

org/art/collection/search/436236

[endif]--According to the Metropolitan Museum of Art; the portrait was commissioned by Jacques Donatien Le Ray de Chaumont, a wealthy entrepreneur who provided Franklin with a house on his estate, in the outskirts of Paris, throughout the years of Franklins embassy (Fig. 1.) During his stay in France, between 1777 and 1785, Franklin and the American cause were enormously popular and his visual simplicity was admired. Franklin strived to resemble a humble man in most of his images. He wore dull colored clothes, modest buttons and lacked jewelry in his portraits. He even went as far as to not wear a wig. Although he managed to stay humble in these ways, he could not hide his protruding belly, and sense of worldliness. Benjamin Franklin, or as Jefferson identified it as, Doctr. Franklin is; a low lit, two-dimensional image (Fig. 1.)

There is a variety of line weights being used to create abundant textures, with burgundy reds in his jacket used to add fleshy color to his rosy cheeks, chin, nose and eyes. The body is painted proportionally and in a realistic manner. The content displays a dusty like palette; harmoniously dull in saturation which holds a local color of reddish brown. The open spaced image displays a slightly hunched Franklin from the torso up, presumably sitting for the portrait. When viewing the painting your eyes are first caught by Franklins highlighted pupils, and then down his face to his chest where a light colored frilled blouse pokes out. Franklin is the only positive shape; with an emphasis on his visual weight being added through the use of a gradient background.

Franklin was as practical with his portraits, as he was with most other things in his life; and was fonder of a good resemblance than a metaphoric representation of who he was. Franklin reveled in having his portrait done; and understood the importance of establishing an image as a public figure. He often gave his portraits away to others, in hopes of spreading his appearance as far as he could. He saw his portraits as historical documents of primary significance; which served as originals to many engravings and replicas (one among them being used on our 100 dollar bill today.)

The target audience of this portrait has always been the supporters and admires’ of Benjamin Franklin. Exhibitions have been put together to display Franklins personality which has been seen as a robust figure with serene countenance, and expressive eyes. Many portraits of Franklin were done by close friends. This was not the only work that displayed people’s admiration for Franklin, other artwork was noted with inscriptions such as; "Honor of the New World and of Humanity, This lovable and true sage guides and enlightens them; Like another mentor, he conceals from the common eye, Under the features of a mortal, a divinity."

The image painted speaks loudly of Franklins’ dignity and understanding of the world (Fig 1). As Franklin dressed in a more simple fashion, people can easily relate to what more common attire would have looked like during those times. The frame itself tells a story of confidence and admiration for a rebel who found a cause. “VIR” has been displayed both nationally and internationally as both art and historical documentation; from Paris to New York, Hamburger to Philadelphia, and more recently in both Denver and Atlanta.

The blouse strengthens the piece through a display of strong details, highlights and tonal variations. Balance is shown by; the whites in the blouse, the eyes, and in the highlights of the face. As well as the brown in the hair and brown in the shadows. The portrait displays dynamic spaces; which are represented by the folds of the face and fabric. Depth is further revealed in the size variation of the buttons and blouses’ asymmetrical alignment.

Lines and points play very subtle roles in this depiction of Franklin. The most noticeable contouring lines are centered in the image and move in vertical directions. This creates an idea of a taller or more prominent man; while the exterior lines of the foreground fade into the background. There is balance found in the even display of line orientation. As the fabrics and hair follow a vertical orientation and in contrast the fur, face, and belly follow a horizontal orientation. The painting displays actual lines, shown in the clothing and folds of the skin. Contrastingly, implied lines are used to reveal facial features. The only noticeable points in the image are in the highlights of the centric pupils; which add slightly more visual weight to the main focal point.

Overlapping and subjective timbre is used to create textures and depth; which adds life to the very still image. There is a textural variation between Franklin’s hair and the fur on his coat. The fine attention to detail creates fusion among the fur; through a variety of contrasting values. There is a use of local colors, with a gradient negative spaced background; which has a contrasting light source. The lighting is strong in the foreground and comes from the top left, the background lighting is coming from an opposing direction of the middle right and is much more subtle.

Fig. 2. Joseph Siffred Duplessis, Portrait of Benjamin Franklin, Reproduced and Property of: The Collection of Lisa Blue Baron. http://www. sothebys.com/en/auctions/ecatalogue/2015/master-paintings-part-i-n09302/lot.82.html (07/31/2016)

[endif]--Faded saturation of the deep burgundy reds and other values with muted tones creates the idea of a simple and humble persona. This image captures a historical moment in time. Benjamin Franklin holds visual weight (Fig. 1.) His eyes pull you in and outward with their directional force. His lackluster expression and commonly dressed image make Franklin seem worldly and approachable. Duplessis had made preliminary sketches with pastels on parchment paper, which show Franklin in the same pose, but instead wearing a grey collarless jacket and waistcoat (Fig 2.) In the finished image of “VIR”, Franklin is shown in a red coat with a fur collar (Fig. 1.) It is said that the fur was played out as a pun; in response to Lord Alexander Wadderburns attacks on Franklins character. Wedderburn, was the solicitor general, who took the role of Franklin's designated inquisitor; when he was on trial in England. Before, during, and after the trial Wadderburn, attempted to soil Franklins name with outlandish accusations about his character. ![endif]--

![endif]--