Governor John Swainson
(1961-1963)

1964
Painted by Pablo Davis
Oil on Masonite

This portrait of Governor John Swainson, painted by Pablo Davis, is a powerful example the importance of social and historical context to the viewer’s understanding of an artwork. Swainson’s portrait stands out from others in the collection due to its unique brushwork, which gives it an unfinished, sketched appearance. While many Capitol enthusiasts have passed down a story of Swainson’s single, two-year term in office and his feelings of leaving unfinished work behind, a closer study of the time period in which the portrait was created reveals other motivations behind Davis’ artistic choices.

The mid-20th century was a time of uncertainty in America. The country was at war in Vietnam, though the Korean War, World War II, and the Great Depression still remained fresh in the collective memory of its people. Art became a tool wielded politically by the government and citizens alike as they struggled to define and express themselves during a time of cultural revolution. In the midst of this turmoil, Abstract Expressionism emerged as an artistic style that employed fast, loose brushstrokes to communicate the feelings of not only sitters, but artists as well. The style represented artistic freedom, while also highlighting the disquiet felt by the masses.

Though this piece retains a certain level of realism, as is required of a formal governor’s portrait, the influence of Abstract Expressionism is clear. Swainson’s face is recognizable, though not fully fleshed out. Rather than painting a monotone black suit, Davis layers blue, red, brown and black into the governor’s clothing with visible brushstrokes. In the background, he outlines a column and doorway using sketched lines that resemble an architect’s blueprint. He then brings in brown and aquamarine, framing Swainson, and he unites the two colors with the addition of gestural black and grey brushstrokes throughout the scene.

This portrait has presented conservators with a challenge due to the materials on which it is painted. Rather than a typical canvas, Davis opted to paint Swainson on Masonite, a type of hardboard made from sawdust and woodchips. Masonite often presents adhesion problems when paired with oil paint, a problem that must be taken into consideration by conservators. By using this material, Davis brings the unsettled, chaotic feeling communicated by his brushstrokes into the physical aspect of his work as well.

Location: Floor 2, Rotunda