Looking at the Masters: Edward Hicks

Edward Hicks (1780-1849) was born in Bucks County, Pennsylvania. His father was a Loyalist who lost all his money in the American Revolution. Edward’s mother died when he was eighteen months old, and he was raised by his mother’s close friend, a Quaker. Hicks’s artistic training consisted of learning to paint decorations on coaches. In his memoirs Hicks described himself as “a weak, wayward young man…exceedingly fond of singing, dancing, vain amusements, and the company of young people, and too often profanely swearing.”

Unhappy, Hicks began to attend Quaker meetings, and he was accepted as a Quaker in 1803. He married Sarah Worstall, a Quaker. Hicks had become a minister by 1812, and an itinerant Quaker preacher in the Philadelphia area by 1813.  He turned to painting as a means of earning additional support for his family. A devout Quaker, whose religion considered painting a luxury and a worldly indulgence, Hicks made paintings that fell into the category of Folk Art, its subjects coming from deep cultural roots. He began painting the Peaceable Kingdom images in 1820 to show the Quaker belief that all people were equal and should live in peace. There are sixty-two extant works titled “Peaceable Kingdom.”

Hicks’s paintings on the theme of the peaceable kingdom often included quotes or thoughts about peace painted on the frame. “Peaceable Kingdom of the Branch” (1826-30) (29”x36”) illustrates Hicks’s style. His depiction of Jesus in this and other paintings shows he is more adept at painting animals than humans. However, the harmony between man and nature and the undeniable charm of the animals has made Hicks an American favorite. 

Jesus has one arm around the lion’s neck and holds out a branch in His hand. Although it may not look like an olive branch, the title of the work indicates the artist’s intent. He relied on the Bible for his subject matter. The Old Testament book of Genesis (8:11) tells of the dove having returned to Noah’s ark with an olive branch in its beak, the act of extending an olive branch as a symbol of peace. Olive trees need to be nurtured for at least three years until they are old enough to produce olives. In other words, they need a peaceful environment to produce their precious fruit. A lamb, ox, and goat are among the animals depicted. 

Hicks has included a small tableau of William Penn, a fellow Quaker, and the Lenape Indians, set beneath the magnificent Natural Bridge near Lexington, Virginia. Hicks admired Penn, who wanted to live peacefully with the Lenape’s. The Lenape believed that land was a gift from the creator and that everyone should share it equally. Penn’s treaty with the Lenape was signed in 1682 and became a frequently used subject in Hicks’s paintings, sometimes the main subject.  

Hicks’s Peaceable Kingdom themes had several variations, but more similarities than differences. “A Peaceable Kingdom with Quakers Bearing Banners” (1829-30) (18”x24’’) is similar to “Peaceable Kingdon of the Branch” (1826-30). A small group of animals and a figure of Jesus in a pantaloon suit, popular children’s clothing at the time, are arranged at the right side of the canvas. Three clumps of olives are visible hanging from the branch.  William Penn, dressed in red, stands at the center of the group of Quakers holding a banner. On it is written “Mind the Light within. It is glad tidings of great joy. Peace on earth, goodwill to all men.” 

“Peaceable Kingdom” (1834) (30”x36’’) (National Gallery of Art) depicts the child Jesus, joined by two children, and a large group of animals. Isaiah (11:6) was the inspiration for all the Peaceable Kingdom paintings: “The wolf also shall dwell with the lamb, and the leopard shall lie down with the kid; and the calf and the young lion and the fatling together; and a little child shall lead them. And the cow and the bear shall feed; their young ones shall lie down together; and the lion shall eat straw like the ox. And the suckling child shall play on the hole of the asp, and the weaned child shall put his hand on the cockatrice’s den.”  Clearly visible at the left side of the canvas, Penn is trading with and negotiating his treaty with the Indians.

 

When Hicks was not painting Peaceable Kingdoms, he occasionally tried his hand at other religious themes. “American Noah’s Ark” (1846) (27”x30’’), exemplifies the development of his painting skills with time and practice. The panoramic landscape includes water and mountains, and dark roiling clouds of the coming storm. To the lion, sheep, and goats of his earlier paintings, Hicks added horses, zebras, giraffes, camels, elephants, hippos, birds, and more. The two humans overseeing the peaceful loading of the ark are tucked behind the giraffes and camels at the far left of the scene.

Hicks painted “Cornell Farm” (1848) (37”x49’’) (National Gallery of Art) when he was sixty-nine years old. He signed the painting with a long inscription at the bottom: “An Indian summer view of the Farm & Stock OF JAMES C. CORNELL of Northampton Bucks County Pennsylvania. That took the Premium in the Agricultural Society, October 12, 1848, Painted by E. Hicks in the 69th year of his age.” The viewer can appreciate Hicks’s ability with perspective, creating the rolling green fields, the farmhouse and barn, and the slightly crooked rows of the planted fields in the distance. He placed a small number of figures throughout the landscape, their size decreasing size as they stand farther in the distance. And then there are the herds of horses, cows, and sheep parading across the foreground. They are an orderly group, delightful to see. Hicks made tried to make each animal three-dimensional by painting all four of its legs, but their bodies remain flat. Not to be missed are the overly large black pigs behind the animal parade. 

Near the end of his life, Hicks described himself as “a poor old worthless insignificant painter.” The joy he has brought to generations of viewers would indicate that Hicks was far too modest.

Beverly Hall Smith was a professor of art history for 40 years.  Since retiring with her husband Kurt to Chestertown in 2014, she has taught art history classes at WC-ALL. She is also an artist whose work is sometimes in exhibitions at Chestertown RiverArts and she paints sets for the Garfield Center for the Arts.