William Sidney Mount

William Sidney Mount (November 26, 1807 – November 19, 1868) was a 19th-century American genre painter. Born in Setauket, New York in 1807, Mount spent much of his life in his hometown and the adjacent village of Stony Brook, where he painted portraits, landscapes, and scenes inspired by daily life from the 1820s until his death in 1868 at the age of sixty. During that time he achieved fame in the U.S. and Europe as a painter who chronicled rural life on Long Island. He was the first native-born American artist to specialize in genre painting. Mount was also passionate about music and a fiddle player, a composer and collector of songs, symphonies, sonatas and other works, and designed and patented several versions of his own violin which he named the "Cradle of Harmony." Many of his paintings also feature musicians and groups of people engaged in dance in rural settings.

Biography Early life Mount was born November 26, 1807, in the village of Setauket, New York, on the north shore of eastern Long Island to parents Julia Ann Hawkins (1782–1841) and Thomas Shephard Mount (1778–1814). Mount's parents operated a farm, as well as a store and tavern that bordered the village green in Setauket. Thomas and Julia had eight children. Five survived childbirth: Henry Smith Mount (1802–1841), Shepard Alonzo Mount (1804–1868), Robert Nelson Mount (1806–1883), William Sidney Mount (1807–1868), and Ruth Hawkins Mount (1808–1888).

At around seven months old, Mount was believed to be close to death when a home nurse noticed his health was failing. His aunt, who came to make funeral arrangements, saw signs of life still in Mount and restored him back to health.

After his father's death in 1814, Mount was sent to live with his uncle and aunt, Micah (1777–1825) and Letty (c. 1777 – 1835) Hawkins in New York City while his mother moved back to her father's home in Stony Brook. His Uncle Micah was an established composer, playwright, mimic, and poet who played the piano, flute, and violin, who helped inspire Mount's passion for music. Mount returned to his grandfather's farm in 1815, where he stayed until moving back to New York City to work as an apprentice in his older brother Henry's sign and ornamental painting business where he cultivated his artistic skills.

Genre

Mount's greatest success and what he is most famed for are his genre paintings which unlike his early historical paintings centered on death, typically focused on daily experiences that viewers could identify with. Mount was one of the first artists to specialize in the American rural social scene; before his time there existed a certain feeling among artists that the daily life of rural America was not worthy of their high calling. William Sidney Mount, Girl with Pitcher, 1829, painting. Mount was encouraged to pursue genre painting by the enthusiastic reception his initial efforts received at the National Academy in New York. His first success in genre painting was the multi-figural Rustic Dance After a Sleigh Ride, shown at the 1830 National Academy exhibition along with his Girl with a Pitcher, 1829.

Music and Mount Not only was Mount's love of music and dance represented in his paintings, but also was evident in his other preoccupations. Coming from a family of musically talented individuals, Mount grew up surrounded by music. Beyond providing subject matter, music gave Mount another outlet that he pursued as a fiddler, a fife player, a collector of folk songs, and a violin designer. Mount performed at dances and in concerts and avidly collected hundreds of tunes which he would then share with musically inclined family and friends. Some of which were by Beethoven, Mozart, Rossini, Schubert, Mendelssohn, Donizetti and one of his idols Nicolo Paganini.

Cradle of Harmony

Mount's fiddle performances for country dances convinced him there was a need for a violin that would project its sound loudly enough to be heard over the noise of the crowd. He also aimed to design a violin that had fewer parts than normal so that it could be manufactured more efficiently and affordably. Mount patented a hollow-backed violin, which he named the “Cradle of Harmony” in 1852. Mount experimented with various violin shapes and modifications for the rest of his life, with four different versions existing today. He displayed the instruments publicly and demonstrated one at the New York Crystal Palace Exposition in 1853.

Spiritualism In the early 1850s, Mount showed an intense interest in spiritualism. He attended several spiritual conferences, participated in séances and table knockings, met some of the leading figures of the movement, and attempted to contact many spirits on his own. In his writings, Mount claims to have been in contact with his uncle Micah Hawkins, who answered questions about his deceased mother, brother Henry, and other relatives. Mount's journal, dubbed the Spirit Journal (now in the collection of the Long Island Museum of American Art, History, and Carriages), is his own personal recording of Spiritualism in his life. The work records his interests in—and his reactions to—Spiritualism. It offers insights into how these ideas affected his outlook on the world having grown up with Christian faith. The entries in the journal are dated from 1854 to 1855, when Spiritualism was at its height, and when Mount was seeking answers that he could not find elsewhere.

Legacy William Sidney Mount never married or had children. His family home, surrounding property, and various outbuildings in Stony Brook became a National Historic Landmark dubbed the William Sidney Mount House in 1965. The site is at the corner of Stony Brook Road and New York State Route 25A.

Mount fell ill while on a trip to New York City to tend to the affairs of his recently deceased brother, Shepard Alonzo Mount. Mount quickly returned to his brother Robert Nelson Mount's (1806–1883) house in Setauket, where he died of pneumonia, November 18, 1868. He is buried in Setauket Presbyterian Church and Burial Ground in Setauket.

Notable collections Mount's work can also be found in many collections around the United States, including the Metropolitan Museum of Art, the Brooklyn Museum of Art, The New-York Historical Society, the Museum of Fine Arts, Boston, the Nelson-Atkins Museum of Art, Yale University Art Gallery, the Art Institute of Chicago, and the Cleveland Museum of Art, among others. The Long Island Museum of American Art, History, and Carriages owns the largest repository of Mount artwork and archival material.

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