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Only a tiny percentage of 18th century Americans sat for their portrait. Few professional portraitists were working in the new country, and their pictures were expensive. Men were painted in honor of their wealth, power, and success, in business, politics, or war. Male portraits were intended to present a permanent record of accomplishment.
Portraits of women were usually much less complicated. If she was painted again later in her marriage, the portrait often included a child or two. The very few portraits of older women usually show them as a matriarch, part of an extended family grouping. These portraits of Eliza Hamilton, however, are different. When Alexander died from his wounds following his duel with Aaron Burr in , Eliza was plunged into a widowhood that would last until her death a half-century later.
She never remarried, or was ever linked to another man, which was unusual for widows and widowers at the time. Her dark dress would have been serviceable both for long hours and as a constant reminder to any potential donors of who she was: the widow of Alexander Hamilton. Dressed in black, she had a gravity that instantly earned her respect. The two earlier portraits descended through the Hamilton family, and were likely commissioned by one of her sons or other family members.
The dates are uncertain, but Eliza is probably in her fifties or sixties, and her small smile - so similar to her smile in the portrait - hints at the kindness and good humor for which she was known. The portrait at the top shows an older Eliza, and was painted by Daniel Huntington, possibly around the time Eliza retired from the Asylum in her early nineties.
