Benjamin West in the context of "Treaty of Paris (painting)"

In Celtic cultures, a bard is an oral repository and professional story teller, verse-maker, music composer, oral historian and genealogist, employed by a patron (such as a monarch or chieftain) to commemorate one or more of the patron's ancestors and to praise the patron's own activities.

With the decline of a living bardic tradition in the modern period, the term has loosened to mean a generic minstrel or author (especially a famous one). For example, William Shakespeare and Rabindranath Tagore are respectively known as "the Bard of Avon" (often simply "the Bard") and "the Bard of Bengal". In 16th-century Scotland, it turned into a derogatory term for an itinerant musician; nonetheless it was later romanticised by Sir Walter Scott (1771–1832).

Thomas Sully (June 19, 1783 – November 5, 1872) was an English-American portrait painter. He was born in England, became a naturalized American citizen in 1809, and lived most of his life in Philadelphia, Pennsylvania, including in the Thomas Sully Residence. He studied painting in England under Benjamin West. He painted in the style of Thomas Lawrence and has been referred to as the "Sir Thomas Lawrence of America".

He produced over 2,300 paintings over his 70 year career. His subjects included United States presidents Thomas Jefferson, John Quincy Adams, and Andrew Jackson; Revolutionary War hero General Marquis de Lafayette, and Queen Victoria. In addition to portraits of wealthy patrons, he painted landscapes and historical pieces such as the 1819 The Passage of the Delaware. His work was adapted for use on United States coinage.

Loyalists (also referred to as Tories, Royalists, or King's Men) were colonists in the Thirteen Colonies of British America who remained loyal to the British crown. The term was initially coined in 1774 when political tensions rose before the outbreak of the American Revolution. Those supporting the revolution self-identified as Patriots or Whigs, and considered the Loyalists "persons inimical to the liberties of America."

Prominent Loyalists repeatedly assured the British government that many thousands of them would spring to arms and fight for the Crown. The British government acted in expectation of that, especially during the Southern campaigns of 1780 and 1781. However, Britain was able to protect the people only in areas where they had military control; thus, the number of military Loyalists was significantly lower than what had been expected. Loyalists were often under suspicion of those in the British military, who did not know whom they could fully trust in such a conflicted situation.

Visual art of the United States or American art is visual art made in the United States or by U.S. artists. Before colonization, there were many flourishing traditions of Native American art, and where the Spanish colonized Spanish Colonial architecture and the accompanying styles in other media were quickly in place. Early colonial art on the East Coast initially relied on artists from Europe, with John White (1540-c. 1593) the earliest example. In the late 18th and early 19th centuries, artists primarily painted portraits, and some landscapes in a style based mainly on English painting. Furniture-makers imitating English styles and similar craftsmen were also established in the major cities, but in the English colonies, locally made pottery remained resolutely utilitarian until the 19th century, with fancy products imported.

But in the later 18th century two U.S. artists, Benjamin West and John Singleton Copley, became the most successful painters in London of history painting, then regarded as the highest form of art, giving the first sign of an emerging force in Western art. American artists who remained at home became increasingly skilled, although there was little awareness of them in Europe. In the early 19th century the infrastructure to train artists began to be established, and from 1820 the Hudson River School began to produce Romantic landscape painting that were original and matched the huge scale of U.S. landscapes. The American Revolution produced a demand for patriotic art, especially history painting, while other artists recorded the frontier country. A parallel development taking shape in rural U.S. was the American craft movement, which began as a reaction to the Industrial Revolution.

The John and Mable Ringling Museum of Art is the official art museum of the state of Florida, located in Sarasota, Florida, United States. It was established in 1927 as the legacy of Mable Burton Ringling and John Ringling for the people of Florida. Florida State University assumed governance of the museum in 2000.

The institution offers 21 galleries of European paintings as well as Cypriot antiquities and Asian, American, and contemporary art. The museum's art collection consists of more than 10,000 objects, including paintings, sculpture, drawings, prints, photographs, and decorative arts from ancient through contemporary periods. Notable holdings include 16th–20th-century European paintings, especially a significant collection of works by Peter Paul Rubens. Other artists represented include Benjamin West, Marcel Duchamp, Mark Kostabi, Diego Velázquez, Paolo Veronese, Rosa Bonheur, Gianlorenzo Bernini, Giuliano Finelli, Lucas Cranach the Elder, Frans Hals, Nicolas Poussin, Joseph Wright of Derby, Thomas Gainsborough, Eugène Boudin, and Benedetto Pagni.

Reception of the American Loyalists by Great Britain in the Year 1783 is a lost painting by American-born artist Benjamin West, depicting the return of the Loyalists to the British Empire following their expulsion from the victorious United States after the American Revolutionary War. Unlike West's established historical styles, Reception features a highly allegorical composition of European, Black, and Native American refugees being welcomed back into the fold by Britannia, who presides over the British Crown Jewels while flanked by angels and government officials surveying the scene.

The original painting and its date of creation have been lost but is survived by a pair of replicas, one by engraver Henry Moses and one by West himself in the background of a later portrait of John Eardley Wilmot, completed in 1811 and 1812 respectively.

The Death of Nelson is a painting by the American artist Benjamin West dated 1806.

In 1770, West painted The Death of General Wolfe. This was not an accurate representation of the event, but rather an idealisation, and it included people who were not present at the event. Nevertheless, it became very popular, and West painted at least five copies.

The Death of General Wolfe is a 1770 painting by Anglo-American artist Benjamin West, commemorating the 1759 Battle of Quebec, where General James Wolfe died at the moment of victory. The painting, containing vivid suggestions of martyrdom, broke a standard rule of historical portraiture by featuring individuals who had not been present at the scene and dressed in modern, instead of classical, costumes. The painting has become one of the best-known images in 18th-century art.