Henry Arthur McArdle’s

 PORTRAIT OF SAM HOUSTON

at Bridwell Library

In 1902 the Texas history painter Henry Arthur McArdle (1836-1908) of San Antonio, best known for his sweeping battle scenes at the Texas capitol building in Austin, painted his large Portrait of Sam Houston in oil on canvas for the Texas historian James T. DeShields (1861-1948).  Given by DeShields to Southern Methodist University, the painting was loaned to the Dallas Historical Society from 1941 to 1996. 

The portrait measures 95 x 66 inches.  The medium is oil on canvas, with little or no varnish.  The artist’s signature “McArdle Pinx. 1902” (Latin:  “painted by McArdle 1902”) appears with the subscript “For Jas. T. DeShields” at the lower right.

The full-length portrait depicts Sam Houston (1793-1863), the victorious general at the Battle of San Jacinto in 1836, first President of the Republic of Texas, and later U.S. Senator and Governor of the state of Texas.  The figure stands in a simple wooden shed that opens onto what is presumably a view of the plain of San Jacinto.  He wears a fine suit becoming a statesman, but also wraps himself in a colorful woolen serape, indicative of his adoption of Texas frontier customs.  Surrounding him are the attributes of his political position and accomplishments:  behind him is a large map of the Republic of Texas; on the table and chair at the left are books and letters from President Andrew Jackson; to the right hangs a portrait of Jackson; on the writing desk is a copy of his “Treaty with Indians.”

McArdle’s style and technique is somewhat primitive, with limited spatial effects and rather flat colors and lighting.  However, the characterization of Sam Houston is strong and striking, as the large figure dominates the scene, looking out at the viewer with a resolute dignity from within the somewhat crowded scene.  An idealized portrayal of one the greatest heroes of Texas conceived by one of the pioneer Texas artists, the portrait is an important monument of the patriotic and artistic heritage of Texas.

The painting shows obvious signs of damage and deterioration, but these are limited to several paint losses along the extreme right edge, a few small punctures, and minor abrasion of the painted surface.  Cupping of the canvas along portions of the edge indicates the need for fresh stretching and framing.  Overall, the canvas is strong and intact, and the areas of greatest damage do not affect important areas of the composition.  Basic mending and conservation of the visibly damages areas, local in-painting, and an overall cleaning and varnishing of the surface will greatly enhance the visual impact of this highly important portrait.