Moss Talks on Bingham’s Early Days in First Ever Geist-Yancey Lecture

BY KEAGAN O’RILEY, ’23

Central Methodist University’s first ever Geist-Yancey Lecture on Fine Arts saw guest speaker Patricia Moss, an accomplished art historian, speak on native Missourian George Caleb Bingham’s contributions to art in a talk titled “The Early Days of Bingham in Missouri as an Artist.”

Moss began her lecture with a curious observation. Despite being lesserknown than some of the other artists of his time, when the Metropolitan Museum of Art created their timeline of art history, Bingham was selected to represent all of 19th century North American art. Moss moved on to talk about the artist’s early life as a cabinet maker’s apprentice and his views on art.

Moss explained that Bingham approached art as not just a medium for expressing what is seen by the human eye, but an expression of something more. She quoted from Bingham, who stated that “in painting a portrait, for instance, [the artist] should not be satisfied with giving a true delineation of the form and features of the subject. . . but in addition to these should impart to his work the soul of his sitter.” This mentality was apparent in Bingham’s many portraits that would later earn him his recognition as an artist.

According to Moss, Bingham’s career in art can be traced back to 1834, when he began working as a portrait painter. Moss remarked that right from the start, Bingham’s style was different from other portrait-makers of his time.

“All these portraits are considered to be monumental,” Moss said. “Monumental in the sense that [the subjects] have a presence while they’re seated there in the painting.”

Other artists who painted portraits during Bingham’s time, Moss explained, had a style that “flowed across the canvas,” unlike Bingham who gave his subjects a bold aura that demanded attention and recognition. Moss followed the evolution of Bingham’s portrait painting across central Missouri, pointing out the earlier artistic experimentations he used on his subjects’ backgrounds as well as the sitters themselves. This included perspective, colors, poses, and even shadows.

Towards the end of the lecture Moss remarked, “It’s the authenticity [of Bingham] that I think resonates with people for 200 years.” She then wrapped up the lecture with a Q&A session with the audience.

Originally from the Kansas City area and known as “the Bingham Lady,” Moss has been systematically locating more than 70 of Bingham’s “lost” portraits for over two decades. Moss, who has degrees in philosophy, history, and art, has helped curate the Bingham Bicentennial Exhibit at the Historic Truman Courthouse in Independence. She is also currently working on a book about the heir of George Caleb Bingham and is looking forward to releasing it soon.

Moss was happy to have been the speaker for the inaugural GeistYancey Lecture, stating, “I think the world of Joe Geist and Tom Yancey. I didn’t know them well, but they both are such fine people who changed the world through who they are. They affected so much at CMU but from what I know of them, it’s the way they helped individuals. It’s like a pebble in a pond – the ripple effect.”

The Geist-Yancey Lecture on Fine Arts series was made possible by Dr. Joe Geist and the late Tom Yancey, ’54. Geist and Yancey were the co-founders of the Ashby-Hodge Gallery of American Art, which now features gallery rooms named in their honor. Through this lecture, Geist hopes to provide a lasting legacy of their endless pursuit of furthering the pillars of higher education and the arts.