A Story of Portraits

Before there were selfie sticks and iPhones there were painted portraits.  Portraits of Richmonders in the Valentine’s collection span across generations as well as across cultures. Rich or poor, black or white, the legacy left behind through a portrait is sentimental.

The Valentine’s exhibition, It’s All Relative: Richmond Families (1616-2016) highlights the importance of legacy and family. The portraits in the exhibition represent various families units and constructs throughout Richmond history.

Portraits began as a symbol of status in Western culture. If one was able to have their portrait painted it meant they as an individual or their family held prominence. In Europe, it was mainly nobility who could afford to commission portraits. The United States however did not have a nobility class, so wealthy Americans took it upon themselves to mimic their European counterparts and create portraits as a sign of family prosperity.

The ideal that a portrait maintains a family’s legacy continues throughout Richmond’s history. Portraits began to cross generations of Richmond families and the idea of preserving one’s tradition crossed societal boundaries as well. No longer were portraits reserved for wealthy white landowners, but for single mothers, African American couples, lower class families, and runaway lovers.

Ruth Clyde Proffitt

A story of resilience, Ruth Clide Proffitt faced many adversaries her entire life. At the age of five, Proffitt’s mother passed away, causing Ruth to take on the responsibility of raising her siblings. Ruth would spend her life in Richmond, becoming a painter as a means of making money as well as a form of self-expression. Ruth settled in Oregon Hill which became a backdrop and focal point in many of her works. This family portrait paints the peaceful crowded, yet struggling life of the Proffitt family in their Oregon Hill home.

Mattie Ould

Instead of following the archetypal life of the Southern Belle, Mattie Ould flipped southern family values on its head with lasting consequences. Feeling trapped in an engagement to one of her father’s associates, Ould packed her bags and ran off to elope with the dashing Oliver Schoolcraft. The two settled in Richmond, but tragically Mattie and her young daughter died shortly after in 1877, having never reconciled with her father. The Mattie Ould story has been retold for generations in Richmond.

Elisha and Joseph

The Great Depression was a time of tremendous hardships for Americans, especially members of the African American community. A commissioned portrait at the time was a luxury few could afford. However, Elisha and Joseph, both of whom worked for the Mayo family had their portraits painted by Isabel Jones Mayo. The couple’s smiles highlight the fortitude of the two during such a grueling moment in history.

If you are interested in learning more, please visit our online exhibition, It’s All Relative: Richmond Families (1616-2016) .