Samuel Finley Breese Morse (April 27, 1791 – April 2, 1872) was an American inventor and painter. After establishing his reputation as a portrait painter, Morse, in his middle age, contributed to the invention of a single-wire telegraph system based on European telegraphs. He was a co-developer and the namesake of Morse code in 1837 and helped to develop the commercial use of telegraphy.
Early life
Samuel Finley Breese Morse was born on April 27, 1791, in Charlestown, Massachusetts, the first child of the pastor Jedidiah Morse, who was also a geographer, and Elizabeth Ann Finley Breese. His father was a great preacher of the Calvinist faith and supporter of the Federalist Party. He thought it helped preserve Puritan traditions (strict observance of Sabbath, among other things), and supported the Federalist policies of an American alliance with Britain and a strong federal government. Morse strongly believed in education within a Federalist framework, alongside the instillation of Calvinist virtues, morals, and prayers for his first son. His first ancestor in America was Anthony Morse, of Marlborough, Wiltshire, who had emigrated to America in 1635, and settled in Newbury, Massachusetts. After attending Phillips Academy in Andover, Massachusetts, Samuel Morse went on to Yale College to study religious philosophy, mathematics, and science. While at Yale, he attended lectures on electricity from Benjamin Silliman and Jeremiah Day and was a member of the Society of Brothers in Unity. He supported himself by painting. In 1810, he graduated from Yale with Phi Beta Kappa honors. Morse married Lucretia Pickering Walker on September 29, 1818, in Concord, New Hampshire. She died on February 7, 1825, of a heart attack shortly after the birth of their third child. He married his second wife, Sarah Elizabeth Griswold on August 10, 1848, in Utica, New York and had four children.
Painting
Morse expressed some of his Calvinist beliefs in his painting, Landing of the Pilgrims, through the depiction of simple clothing as well as the people's austere facial features. His image captured the psychology of the Federalists; Calvinists from England brought to North America ideas of religion and government, thus linking the two countries. This work attracted the attention of the notable artist, Washington Allston. Allston wanted Morse to accompany him to England to meet the artist Benjamin West. Allston arranged—with Morse's father—a three-year stay for painting study in England. The two men set sail aboard the Libya on July 15, 1811. In England, Morse perfected his painting techniques under Allston's watchful eye; by the end of 1811, he gained admittance to the Royal Academy. At the academy, he was moved by the art of the Renaissance and paid close attention to the works of Michelangelo and Raphael. After observing and practicing life drawing and absorbing its anatomical demands, the young artist produced his masterpiece, the Dying Hercules. (He first made a sculpture as a study for the painting.) During Morse's time in England, the British and Americans were engaged in the War of 1812, which the pro-British Federalists had consistently opposed. As the war raged on, Morse's letters to his parents became more anti-Federalist in tone. In one letter, Morse wrote:
I assert ... that the Federalists in the Northern States have done more injury to their country by their violent opposition measures than a French alliance could. Their proceedings are copied into the English papers, read before Parliament, and circulated through their country, and what do they say of them... they call them [Federalists] cowards, a base set, say they are traitors to their country and ought to be hanged like traitors.
Although Jedidiah Morse did not change Samuel's political views, he continued as an influence. Critics believe that the elder Morse's Calvinist ideas are integral to Morse's Judgment of Jupiter, another significant work completed in England. Jupiter is shown in a cloud, accompanied by his eagle, with his hand spread above the parties and he is pronouncing judgment. Marpessa, with an expression of compunction and shame, is throwing herself into the arms of her husband. Idas, who tenderly loved Marpessa, is eagerly rushing forward to receive her while Apollo stares with surprise. Critics have suggested that Jupiter represents God's omnipotence—watching every move that is made. Some call the portrait a moral teaching by Morse on infidelity. Although Marpessa fell victim, she realized that her eternal salvation was important and desisted from her wicked ways. Apollo shows no remorse for what he did but stands with a puzzled look. Many American paintings throughout the early nineteenth century had religious themes, and Morse was an early exemplar of this. Judgment of Jupiter allowed Morse to express his support of Anti-Federalism while maintaining his strong spiritual convictions. Benjamin West sought to present the Jupiter at another Royal Academy exhibition, but Morse's time had run out. He left England on August 21, 1815, to return to the United States and begin his full-time career as a painter. The decade 1815–1825 marked significant growth in Morse's work, as he sought to capture the essence of America's culture and life. He painted the Federalist former President John Adams (1816). The Federalists and Anti-Federalists clashed over Dartmouth College. Morse painted portraits of Francis Brown—the college's president—and Judge Woodward (1817), who was involved in bringing the Dartmouth case before the U.S. Supreme Court.
Morse also sought commissions among the elite of Charleston, South Carolina. Morse's 1818 painting of Mrs. Emma Quash symbolized the opulence of Charleston. The young artist was doing well for himself. Between 1819 and 1821, Morse went through great changes in his life, including a decline in commissions due to the Panic of 1819. Morse was commissioned to paint President James Monroe in 1820. He embodied Jeffersonian democracy by favoring the common man over the aristocrat. Morse had moved to New Haven. His commissions for The House of Representatives (1821) and a portrait of the Marquis de Lafayette (1825) engaged his sense of democratic nationalism. The House of Representatives was designed to capitalize on the success of François Marius Granet's The Capuchin Chapel in Rome, which toured the United States extensively throughout the 1820s, attracting audiences willing to pay the 25-cent admission fee.
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