in a year and a half's time, hea painted 36 paintings, 36 portraits.ted he was doing quite well. he knew john jay. he met john jay when he was in england. john jay introduced him to his y circle of friends. he also knew a family in irelanw that introduced him to a circlet of friends, so he was right awar very busy doing portraits. his technical skills were so amazing.y he was so proficient that no one could top gilbert stuart.k this is his portrait of john jay done in new york in 1794. john jay is shown in his amazing robe. these are the robes given to him by harvard. that's why he's shown in this r. beautiful red and black costumek rather than a more conservativea suit. he's got his hand resting on a . book and the other hand on his lap. res just the picture of judicial jut

proficiency. it was john jay. gilbert stuart's purpose of coming to america was to paint washington and it was john jay who gave him his letter of introduction to washington whena he eventually went to philadelphia to paint washington, so it was john jay who really made that possible for him. before going to washington, let's go into the next gallery.a before painting washington, as r said, stuart spent a year and a half in new york and painted many portraits while he was there.york and we're lucky enough to have, oh, probably eight of them. he painted a whole series of a portraits for the yates pollock family. two of them are hanging right here. yates this is catherine brass yates.y mrs. richard yates. stuart at his most amazing. catherine yates was married to richard yates who hangs on the other side of the doorway over there.

he had an importing company, soh they were import/exporters of c, goods. they took to the west indies t cloth and flour and things like that. they transported to the west ad indies and brought back molasses and rum and sugar and those things from the west indies. he had a flourishing import/export business.heng her husband eventually did end up siding with the british and they left new york for a littleh while, but came back when hal came back and occupied new yorki in 1775 or 76.e here they did not leave the country. they were here during the war. catherine brass yates, she's a 57, 58-year-old woman when stuart painted her and she paid wasn't very beautiful, but he's done an amazing thing.

he's shown her in her long faceg and her pointed nose. he's shown her turned sideways to us in the midst of -- she had so much to do. she was such an industrious dnrson. she couldn't stop working while he was painting her. here she is sewing. whpa the way her little finger stretches that piece of thread out and she has the glitter of her thimble in her hand and then the needle in her hand and the shine of the light on her sh thread. her beautiful monochrome gray satin dress that she's wearing, very simple.e' the reflections of the red of i. her chair coming into the satin in more places than here, but in other places as well. more little brass tacks on her chairl the glint of her wedding ring. d most of all it is a study in grays and browns.

her brown eyes looking out at us very appraisingly, and the beautiful mob cap she's wearing. a mob cap, you might have noticed martha washington was a wearing a similar mob cap called that because it was worn during the french revolution by mobs. a mob cap was in some ways a symbol of support for democracy and for the revolution. but in her case, it may have re just been fashion, but it's have beautifully painted.y i love this little swipe of white out here, this little ane shape, and then the bow at the top. his brush stroke is so sure and so -- the paint is so beautiful on the stuart painting.- the stuart said it was a waste of ig time to use chalk or pencil anda do an underdrawing. he said it should all be done with the paint brush. not many people can do that just with the paint brush, but stuart could. can

we'll take a look at catherine brass yates' husband over here. attention to detail. you might have noticed on epes sergeant there was some hair powder on the collar and here it is again. it's not dandruff. it's wig i powder that's on his shoulder. it must not have been a faux pas to have that showing because both of these painters painted it. here are his brass buttons ave t glisten against the fabric of that beautiful dark blue coat gt he's wearing and he's sitting i a windsor chair. i love the way his accoutremenci on his desk are painted, the glass ink jar and whatever else is there. just the beauty of how it is painted, that little touch of red. his wife's painting is a fe's

classic.ting it's gilbert stuart at his very best, i think.t let's walk along this wall. this is another stuart portraitt painted while he was in new yors before he ever went to philadelphia to paint washington. this is henrietta. we also have the portrait of heo husband. w it's just not on view. so many times these were done as a pair. her husband was a newly appointed ambassador to the u.sw and they were newlyweds. this was painted right before s. they returned to england. an interesting thing about stuart as a painter is that he could be very dilatory. he sometimes took commissions we'll see later with others they took 15 years to finish and didn't take as long for this one. what henrietta wrote in her diary -- the thing about stuart, he's remarkable for being h dilatory.

and then she said, it's amazing that paint dries so slowly in i this country, because he kept sl telling her the paint wasn't dry. she couldn't take it back to england yet. many people noted that. stuart sometimes came through s very quickly, but other times hn just didn't even finish a work. he was very mercurial. this is such a beautifully done portrait with the color lly done harmonies that stuart used for her. the beautiful lining of the peach and the way her bonnet is lined and the ruffle inside and the bow and we the bow under her chin and thend the blue of the sky. it is unusual for him to show someone doing something.meone do but here's mrs. yates sewing and then henrietta pulling on her glove. the variety of stuart's brush is just so amazing. var in some areas the paint is very thin.

in other areas he builds it up and you can see quite a bit of paint on the canvas. up here in her bow, just beautifully painted. you can see the texture of the canvas coming through in this one. comin this is rembrandt peale.g rembrandt peale was one of the sons of charles willson peale. charles willson peale had a huge number of children. char i can't remember how many. but he named some of his sons -- one was rembrandt. one was rubens. one was raphael. this is rembrandt painting rubens, his brother, with a geranium.raph it is a portrait of rubens and of the geranium, which was a very rare species in the colonies at the time. we'll see more work by rembrandt peale later.fait here we come to nelly custis. we saw her in the washington yo family portrait as a young girl. here she is a young woman painted by stuart in 1804, so this is after he had left new york. she's wearing a very comfortable

at ease dress, but she has this beautiful sash tied around her u waist and twining over her arm, a transparent sash. nelly custis, she had had a hard life.had her father had died when she was young. she had been very, very close to martha washington. vertha washington died in 1802s. it was very devastating for nelly custis to lose martha washington. also, she had a child that contracted the measles, died from the measles, and nelly ha herself got measles. she'd been sick for a while, so she was at a time in her life where there was a lot of sadness and melancholy. stuart captures that, i think, with her looking off in the ness distance.st so now we come to george o washington. stuart, as i said earlier, his n whole point in coming to americ was to make his fortune paintinr washington.ice

and the history of his paintings of washington is a little bit complicated.insh he came to philadelphia. e had the letter of introduction from john jay. he took it to washington and surprisingly enough washington was will to -- he invited him for an evening, that very "the evening, and he was willing to s sit the next morning. the first portrait stuart did o washington, it's called "the vaughan portrait," because it was commissioned by someone named vaughan. stuart did that portrait and immediately had 33 requests, 33 patrons, who wanted copies of that portrait. he made 12 or 13 copies and then he got tired of doing that. t and we have a vaughan portrait not on view. we have one downstairs, which i. another replica of that. for a while the gallery thought our vaughan portrait might haveh been the original that stuart

painted, but it is probably a th very early copy because stuart late in his writings wrote later that he had rubbed one in out ve because in the midst of making reproductions or replicas of the vaughn portrait, he got another commission from martha washington for a portrait, whicr became the one that was used onl the dollar bill and is the one that is modelled after. this one was a replica of the atheneum. this is the portrait of washington by stuart for that gibbs' commission. they're not all exactly the same depending on how stuart felt

when he was doing the replica. stuart said that washington was difficult to paint because he was so taciturn. stuart was known to chat people up while he was painting them that way they had a lively park expression. washington was not one to suffer that glib kind of conversation a that stuart liked to partake in, so it was difficult to get washington .wasn't they said washington, when he wasn't engaged in an idea or talking about something, when hu was doing that, his features ing were very enlivened, but when hs wasn't, his features just went l slack, so he had no expression,a which may be some of the trouble stuart had with him, but this is a very elegant portrait of the first father. this is a replica of a portrait we'll see downstairs that stuart atd of john adams. here he's changed the color of his clothing and given him thiss

really rich reddish-brown ch jacket. the technique he used about the little lines around the eyes ane the little bits of blue that reflect enliven the face quite a bit. he's done it with washington to some extent as well. stuart would block in the face in a very fluid way, very light. then he'd go back and put the k highlights on the top of his head where the light would shine.t wo you can see his bald dome has d the heavier paint on it and on the nose and various places where the light would catch. this is jefferson, who is a h. little less focused looking, to me, than the others. but similar backgrounds to all of them. this he took a replica of a th portrait he had done of jefferson and not delivered to him yet.po so he had it in his studio and was able to use it.

and madison, part of the pluribus group. then we come to james monroe. you'll notice the background in the monroe painting is the ba different, and it may be because this one was started a little sr earlier. this one was started in 1817 when monroe was president. monroe did not like this very painting veryw well, wasn't ver happy with it. maybe it was the background that stuart was using at the time. this is the only set that exists now of the five presidents. there were two. he did one for a man named ere e dogget as well. dogget sat -- i think only three remain. only two remain. i think it is only madison and monroe.ink the other three burned in a fire at the library of congress.

the frames are original and are thought to be by dogget, a frame maker in boston. we're now in the gallery's installation of the kaufman collection of american furnituro and hanging on the wall is george washington. i guess by now you're beginning to get the sense, i think, that the 18th century in america at the time of the revolution and after the revolution was a very small place. many of the same people come up again and again.me peopl many of those people are sswoma interconnected. we've seen a few of those relationships upstair.we've john jay and alexander hamilton and george washington.re the most important thing, i w think, is of this small place tt with all these people that are all interconnected george washington is the center. everybody knows george washington. all everybody admires george washington.eorg everybody wants a portrait. everybody wants to paint george washington if you're a painter.a and everybody else wants a picture or an image of george

washington. if it's a painting or an tgraving from a painting orfr m maybe it's a vase that you bought from france with george washington's image on it or a e etyiety of the cincinnati plate considering george washington to be the modern-day cincinnatus ov maybe it's a clock with george washington on it imported from france. everyone wants something with george washington on it. this portrait we're looking at right here is the galleries of vaughan sinclair george washington.rant it was recently cleaned by a th grant thewe gallery has from thh bank ofem america to conserve paintings by gilbert stuart. i think we're working our way through them, but this was one of the first ones that was done.

it's a replica of the vaughn image. this one was requested by a man named vaughan and then also owned by someone named sinclair, so that's why it's called the vaughan sinclair image of washington. this is a replica of the very first image of washington that stuart did.ery you can see the red drapery in the background capturing the presidential image there. beside it is an image of washington by rembrandt peale. it's done much later. it's done in 1859, so it is after washington had died. it we also in the gallery have in another image now by rembrandt peale of george washington, washington before yorktown, that hangs in the stairwell. it's a new painting. it's a magnificent painting and we may see it later. let's walk across the room and e look at these portraits of johnt and abigail adams.hese we saw john upstairs.and abig actually that portrait we saw h upstairs of john in his

brownish-red coat is a replica from this painting. this painting was commissioned in 1800 when adams was about 65. stuart never finished it. f abigail adams wrote that she . just didn't know what to think s about that man stuart. t the likeness was good, but stua perhaps her children would never see it because stuart just didn't finish it. and it was only in 1815 that stuart came back to this portrait and finally finished it.ished adams had to come and sit again for it because of course he had

changed in 15 years and stuart repainted it and updated it, str added the wrinkles and all that adams had acquired. now abigail adams, her portrait was also commissioned in 1800 ha and never finished and stuart vu came back to do it again in 1815, and abigail did not p repose. she did not resit for it so herl face stayed the same. very smart woman. rt athe dress is the old style fashion that she had on, but e stuart added an up to date scars and the bonnet. those are new. those are in fashion in 1815.ve

so he updated her portrait, but her face remained the same. stuart apparently said to her nephew when he was painting her the first time in 1800, i wish i could have painted her when shes was younger, it would have been a perfect venus.me maybe he said that to all the women he painted. but these are classics of wo american portraits, these or portraits of john and abigail paintings, they are wonderful painting by stuart and worth the wait. they have been recently ino m conserved from that bank of america grant. so they're looking their very best. des now, there are some other paintings in this room here. chr let's go across over here to -- this is captain joseph anthony.h this was painted by stuart when he was in new york. joseph anthony is stuart's uncld and one of his contacts when he came to this country. he was in philadelphia.tave stuart went down to paint him or he came up to new york, i'm

not sure, but this is his uncle and someone who really did a ha great benefactor for stuart, introduced him to many people and did a lot for him to get his career started. was so he is shown at his desk -- on in a chair, desk chair and he has not his papers in front of him and he's writing. b this is an additional portrait of george washington, a a wonderful painting that has just come to the gallery from the pr corcoran collection and justtr been hung in the seventh street stairwell. it's george washington before the battle of yorktown paintedp by rembrandt peale who we have seen already and painted in der 1829. a little later than what we've been looking at. it's george washington on his ae horse, his white horse, preparing for battle and you can see washington -- of course, the challenge that peale had was la washington had been a 49-year-old general when -- at t the battle of yorktown and at

this time when peale is painting it, he is a 66-year-old -- well, actually, he is portraying him as a 66-year-old president. so there is a difference. it's 1829 so washington has t already died, but there is a difference. it's the image, the presidentia image of washington that everyone is so interested in. peale shows him with alexander hamilton, his aid to camp that we have seen already darting off to the right on his horse. -- alexander hamilton was known to be very impetuous and off to something quickly that may be what's happening and this is lafayette that's at washington's right on the horse behind him.is the other generals in the on and background are known, one is knox, one is -- i'm not sure i remember who they are but they are knowfor traits of men. and the noxious weed in the foreground that the horse is hee trampling on is great britain bt and this is yorktown of course before -- this is before yorktown but yorktown of course is the concluding battle of the revolutionary war. so this is a members of the jurier addition to our not collection and wonderful to have it hanging here to yet another image of washington.ittle, we've looked briefly at these

paintings, but they require much more time really to understand what the artist had in mind and what tools he has used to create that image and all of the details that he has included.s you noticed some paintings that it's very little, very simple, some of the stuart paintings have very little black and white paint and yet he has been able to create an image that's very believable. then you have seen others by n. charles willson peale, the portrait of john boardley that has so many allegorical references and so many information if you take the time to look and understand it. it just requires bringing a fresh eye and trying to understand what the artist has been -- has tried to do.ry. >> this was the second of a two-part look at american tures portraits at the national ar gallery of art. you can view this and all other warican history tv programs at our website, c-span.org/historys american history tv on c-span 3 features the civil war every saturday at 6:00 p.m. and 10:00 p.m. eastern. we've covered the war extensively these past five years as many state and national

historic sites and local civil war groups hosted events to mark the war's 150th anniversary. to watch any of these past p programs or to find upcoming rmn schedule information visit our website, c-span.org/history. this is american history tv all weekend every weekend on c-span. 3 and in primetime on weeknight. when congress is in recess. >> each week american artifacts takes viewers into archives, museums and historic sites around the country.country. next we visit the national museum of health and medicine located justlook outside of washington, d.c. to look at items spanning more than 150 years of the museum's existence. this is the second of a two-part program, the first focused on the museum's civil war collection.pr some viewers may find images inm this program disturbing. >> hello and welcome to the >> national museum of health and ye medicine. my namlaerk is tim clark, and i the museum's deputy director,

and we're here today to give you a short tour of the highlights of the museum. the museum was founded in 1862 as the army medical museum. our mission today is very much the same. mr miery our mission is to collect those objects that share the value of military medicine and preserve the legacy of american medicinen so what we will show you today is highlights to the museum's collections from the last 150 years in areas of military medicine, human anatomy and pathology, forensic identification, biomedical entia engineering and a few other eri special artifacts and exhibits that are on display here, so come along. we've moved into an exhibit on the history of innovation in military medicine, but we start our tour today with this objects the floor of what was known as

trauma bay 2 from the bilod theater hospital in iraq. from 2003 to 2007 during the height of the insurgency of thee iraq war the bilad theater hospital served as the evacuation point where american service members were treated in country before being flown to re germany and eventually back to o the united states for the next levels of care, but trauma bay 2 was noun -- known as a place where the worst wounded were treated. so this piece of floor helps tell the story of modern battlefield medicine and it t shares that story by these deepe gouges you can see in the floora you can imagine the gurneys being carried into the emergency room and the gurney legs being g kicked into place over and over and over again. the yellow stains that are evident show the antiseptic, the betadine used to clean wounds is advance of surgery.

the black stains embedded into those gouges are the blood ofgog those patients treated at bay 2. the story as it was shared withs us from the caregivers at the c bilad theater hospital was thatr this became known as the place t where the most american lives were saved or lost since vietnam so it carries for us a very special story. we can help to remember all ecit those lives that were lost but so many lives that were saved. we are honored often by visitors to this floor who are young men and women who started on the road to recovery by -- and can trace that recovery to their time at the bilad theater bilad hospital during the iraq war and often were treated right here od bay 2. as we move on through the rest of