Early Life and Family of Junius Brutus Stearns

Born Lucius Sawyer Stearns on June 2, 1810, the man who would later be known as Junius Brutus Stearns began his life in Arlington, Vermont. His early years were shaped by a tension between his own inclinations and the expectations of his family. His father held little interest in his son's artistic aspirations, a disagreement that eventually led Stearns to change his name. This shift from Lucius to Junius marked a personal departure from his upbringing as he sought to establish his own identity in the growing American art scene.

Stearns married in 1835 and built a large family that included a daughter and four sons. His children carried the weight of his legacy and his own interests; two of his sons were named after famous artists, Raphael and Michelangelo. Another son, Junius Brutus Stearns, Jr., followed in his father's footsteps by serving in the Civil War with the 44th Regiment, while the elder Junius Brutus Stearns also served during the conflict in New York's 12th Regiment. These family ties and the names he chose reflect a man deeply connected to the history and the people that defined his era.

Career and Membership in the National Academy

Stearns first caught the public eye around 1838 when he submitted his painting The Millennium for admission to the National Academy of Design. This work, an apocalyptic scene featuring a child resting with a lion and a lamb, caused a sensation and helped establish his presence in the New York art world. By 1840, he was a settled figure in the city's creative circles.

His relationship with the National Academy of Design spanned several decades. He was elected an associate member in 1848 and was elevated to the status of full academician just one year later. His commitment to the institution went beyond his own studio work; he became a member of its council and took on significant administrative responsibilities. From 1851 to 1865, he served the academy as its recording secretary.

Notable Paintings and Artistic Series

Stearns first made his mark on the art world with The Millennium, an apocalyptic scene of a child resting with a lion and a lamb. He submitted this work as his credentials for admission to the National Academy of Design around 1838. This early success helped establish his reputation, leading him to focus heavily on historical subjects. He became particularly known for his five-part Washington Series, created between 1847 and 1856. One notable piece from this collection, Washington as a Statesman, depicts the President addressing the Constitutional Convention. He also produced a second series of Washington paintings that included depictions of free blacks.

His interest in history often led him to intense and difficult scenes. In 1847, he painted Hannah Duston Killing the Indians, which portrays the 1697 killing of Native Americans by Hannah Duston after they had captured her and murdered her newborn daughter. In this specific depiction, Stearns chose to portray Samuel Lennardson, a fellow captive, as a woman. He also explored domestic life and tension in The Letter, a scene where a family gathers in anxious anticipation of a message. As his career progressed, his subjects shifted toward portraits, genre scenes, and sporting pictures focused on fishing.

• The Millennium (about 1838)
• Hannah Duston Killing the Indians (1847)
• Washington Series (1847–1856)

Later Years and Death in Brooklyn

As the years passed, Stearns began to pull away from the busy, demanding art scene of New York. He moved toward a quieter life, focusing his efforts on domestic scenes, portraits, and sporting pictures of fishing. This shift in his subject matter marked a departure from the historical grandeur that had once defined his public reputation. He lived through the upheaval of the Civil War, a period during which his sons also saw service in the regiments.

His life came to an abrupt end in Brooklyn, New York. On September 17, 1885, at the age of 75, Stearns was involved in a horse-and-carriage accident. The incident occurred as he was returning home after spending an evening at the theatre. He died from the accident, leaving behind a legacy of detailed historical and genre paintings. He was interred at Cypress Hills Cemetery in Brooklyn.