Speech to the Michigan
Supreme Court for the Presentation
of portrait of Augustus B. Woodward
by Robert Maniscalco
Mr. Chief Justice, Justices
of the Supreme Court, and distinguished guests, it
is my great honor to present my portrayal of Judge
Augustus B. Woodward. May it please the court . .
. for many years to come. I've been asked to share
the most unusual story of my bringing this portrait
into being. I would mention at this time that you
all are invited to view a short presentation illustrating
the process following these proceedings in the reception
area. I would also like to take a moment to acknowledge
a couple of important people who have always been
there for me. My sister Betsy, my wife Amanda (Danny/Mary)
and of course, my father Joe Maniscalco, with whom,
I'm very proud to say, I hang in the halls of justice
here at the Michigan Supreme Court.
Now,
with regard to this painting, as with every portrait
I paint, it was a delightful adventure-a true labor
of love. To accomplish this particular result, however,
I needed more than a flair with a brush, I had to
become something of an historian. The project came
about after the esteemed Justice Thomas Brennan presented
what he called "a word portrait" to this
court to mark the 300th anniversary of the City of
Detroit, focusing on Woodward's plan for Detroit as
well as his appointment as Michigan's first Territorial
judge, making him the father of this great institution.
In Justice Brennen's "word portrait," he
noted the conspicuous absence of the real thing. Well,
justice called out in response and, as the story goes,
I was deeply honored to have been selected for this
singular challenge. The rest is history.
As the court's unofficial posthumous
portrait painter I have been commissioned several
times over the years to fill in the blanks, so to
speak, of the impressive portrait collection housed
within these walls. (whispered) I paint dead people.
Who knows, maybe someday I'll have the honor of being
asked to paint a real live MSC justice! But I digress.
Suffice it to say that as a result of the dedication
of the Michigan Supreme Court Historical Society our
state can proudly boast of having one of the most
impressive and comprehensive portrait collections
of any State Supreme Court in America.
My historical quest to find
the real Judge Woodward began with Justice Brennen's
eloquent word portrait and ended in a place where
Federalist architecture is exceptionally well-preserved:
Charleston, SC. As an amateur historian, I embarked
on several failed attempts at finagling myself into
some of the great historic homes in Charleston. In
one case I had to call on the aid of Angela Bergman,
our esteemed Executive Director, who helped me gain
access to the Charleston Museum collections, only
to be disappointed when the period wasn't exactly
right and the conditions of my using the location
were too limiting-in order to get what I needed I
would actually have to handle some very precious antiques
with my sticky, paint-covered fingers! For weeks I
visited museums, law firms, fraternities, schools,
plantation homes, restaurants, Inns, antique stores,
tour homes; if anyone needs a recommendation of where
to go in Charleston, just let me know! Finally, as
it always goes, when hope was all but lost, I stumbled
upon the perfect setting: The Thomas Elfe House on
Queen Street, built around 1770, one of the oldest
private homes in the Charleston peninsula. The proprietor,
Bill Ward, a prominent collector of antiques from
the period, was more than happy to assist me in putting
together the authentic setting you see before you.
All I had to do was wash my hands!
Meanwhile, I had to find the
right person to play Woodward. After staging several
impromptu lineups in grocery stores or at parties-several
women suggested their ex-husbands as perfect for the
part!-I found my man. Dr. Patrick O'Neill is the head
of the Medical Weight loss center at MUSC. He happened
to be the same height and build as Woodward; he was
even a career bachelor, like Woodward. But most importantly,
he was willing to play dress up with me. He towered
over the desk and was perfect for the part, all decked
out in a period costume, provided by Bruce Bryson
of Theatrics Unlimited.
I took digital photos paying
careful attention to lighting. I wanted to get the
glow of the candle light and oil lamps used at the
time. The rooms from the period were usually cramped
and the front room of the Elfe House was no exception.
I put my unwitting model through the ringer, experimenting
with every conceivable pose I could imagine Woodward
ever striking. I ended up with this simple, confident
pose, which I believe evokes Woodward's complexity
and stature. Though he was known for his poor posture,
I imagined he would have stood tall for his own portrait.
Alone in my studio, I faced
this most intriguing challenge: how to combine my
historically accurate reference photos with an unflattering
caricature, a political cartoon really, that happened
to be the only known visual depiction of Judge Woodward.
If it please the court, I believe my charge as a portrait
painter is to find the greatness in my subjects, not
advertise their flaws. On the other hand I believe
there is power and grace in the naked truth, which
should always be the goal of the artist. So what was
I to do in this case, with the limited visual information
available? How could I get to "the truth"
hiding beneath this lampoon? The written descriptions,
though detailed and evocative, were no less critical.
I set out to capture the slight scowl of the original
drawing yet bring a warmer, more naturalistic depiction
of this enigmatic figure, adjusting for some of the
original artist's obvious sarcasm and how shall we
say, lack of technique. I gave him a more determined
gaze and a slightly less protuberant nose. In the
case of my depiction of Augustus Woodward, I hope
any artistic purists will forgive me for erring on
the side of his strength and nobility.
The painting features a number
of significant artifacts that I'd like to touch on,
if it please the court. All the furnishings and "props"
included in the painting are authentic antiques from
the Colonial and Federalist periods, what they call,
"Adams-esque" in the south. In the background
is a built-in cabinet and a mantle made by Thomas
Elfe himself, a contemporary of Chippendale; his cabinetry
and furniture are considered some of the finest of
the period. A desk from 1790 anchors the composition
and sets the stage for a number of historically significant
features. Piles of books, a period quill, pewter ink
fountain, indicia, wax and sander help to create a
sense of his characteristic clutter. A notebook, which
Woodward always carried with him, rests at his finger
tips. An authentic wine bottle and glass suggest the
less formal judicial proceedings of the day. The fire
spills (used to light fires/candles, etc) in a container
on the top of the desk represent the burning of Detroit.
Woodward's solution to the Detroit fire of 1805, his
controversial "spoked" street plan for Detroit,
is framed above the desk. And, of course, the lamp
of knowledge, resting atop blue and gold books on
the mantle over Woodward's left shoulder is the symbol
taken from the first seal of the University of Michigan,
which he co-founded in 1817.
It is my sincere hope that
this portrait helps connect us with our past, as it
carries forward the story of the iconic, enigmatic,
Augustus B. Woodward, who's powerful contribution
to our state, our country, our destiny secured his
place in history. I want to personally thank and congratulate
the Court and the Society and all of you who help
bring these portraits into existence. It is because
of your generosity that our history lives to inform
us in the future.
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