Decoding the Alleged Connection: Exploring the RLDS Painting of Joseph Smith Jr. and its Relationship with the Marshall Photo

In this blog post, we will explore the connection between the famous RLDS (CCofC) Painting of Joseph Smith Jr and its alleged association with the Marshall photo. We will delve into the origins of this theory, its development over time, and the visual disparities between the Marshall photo and the RLDS painting. By examining these aspects, our aim is to shed light on the validity of the claim that the Marshall photo is a photographic copy of the painting, ultimately debunking numerous unproven theories.

 

1. The Emergence of the RLDS Painting Theory:

The idea that the Marshall photo is a photographic copy of a renowned RLDS painting actually gained momentum prior to its discovery and release in 2009. This theory first emerged in the mid-1990s when a copy of The Library of Congress photo of Joseph Smith Jr. surfaced, coinciding with the publication of the book "Photograph Found." by researchers Reed Simonsen and Chad Fugate. The images appeared similar, leading some to speculate about the photo and whether it was a copy of the painting. However, conflicting opinions arose regarding which came first, yet the "copy of the painting" theory gained popularity. (I stand corrected regarding the duration of this controversy. In 1962, a thesis titled "The Visual Image of Joseph Smith" was presented to the Department of Art at Brigham Young University by the author William B. McCarl.)  Web link- https://scholarsarchive.byu.edu/cgi/viewcontent.cgi?article=5922&context=etd

 

2.  Visual Differences: Face and Key Features:

While the face and certain key features in the Marshall photo and the RLDS painting share similarities, there are distinct differences upon closer examination. The Marshall photo shows a crooked nose, lighter eyes that reflect light following the principles of light theory for semi-transparent eyes, and apparent scars or dark marks on the eyelid. In contrast, the RLDS painting depicts a straight nose and dark, flatly painted eyes.

 

3.  Clothing and Background Discrepancies:

When scrutinizing the attire depicted in both the Marshall photo and the RLDS painting, notable differences become apparent. The painting presents a simplified cravat, while the Marshall photo displays a lacy cravat adorned with an embroidered "S" in the center. The jacket in the photo features buttons and an embroidered mourning bow appliqué, whereas the painting lacks the woven fabric texture seen in the Marshall photo and The Library of Congress version. Additionally, the painting showcases a scenic background, while the photo features a simpler, textured backdrop.

 

4.  Misalignment in Cuffs:

Another visual difference emerges in the alignment of Joseph's cuff between the RLDS painting and the Marshall photograph. The cuff in the photograph appears naturally positioned in proportion to the body size, whereas the painting depicts a lowered and unnatural placement of the cuff.

 

5. Vertical Striations Similarities:

First of all, I believe that both the vertical lines in this "specific" copy of the RLDS painting and in the copy of the daguerreotype photo (Marshall Photo) occurred at the same photo shoot in 1879 and are a result of the reflection from the ambient light in the photographer's studio. When being photographed, the mirrored surface of a daguerreotype easily reflects light details. Although I have yet to fully decipher what that reflection is precisely, there are strange nonorganic reflections embedded in both the painting and the daguerreotype. I believe that the image on the left is a copy of a daguerreotype taken from the RLDS painting of Joseph, which means it has a mirrored surface. Initially, I mistakenly identified all the vertical lines as brush strokes from gloss, as is commonly assumed. However, upon further analysis, it seems that these vertical lines are actually embedded within the painting and or daguerreotype and are not present in other contemporary photographs. 

We have copies of the RLDS painting pre 1879, so we know that this occurred, as well as there are accounts of a Daguerreotypist named William A. Smith who advertised in 1852, stating, "Daguerrean Pictures Of JOSEPH AND HYRUM SMITH, AND THE NAUVOO TEMPLE, May be seen at the Smith's Gallery. Pictures of all kinds copied."

 

The only rational explanation is that these lines are the result of light reflecting from an external source, as the mirrored surface of the original daguerreotype was photographed. Essentially, there is a mirrored reflection trapped in both images. However, the reflection appears in different spots on the images. The only logical theory is that Joseph Smith III fulfilled his intention of sending multiple images, as mentioned in his letter to the Robinsons. It is likely that at least one of these images was a daguerreotype of the painting, while the other image would be the actual daguerreotype of his father.

To enhance visualization and gain a better perspective, I applied an overlay of colors to accentuate the embedded reflection within the dark tone of the coat in both the painting and the photo.

This reflection could very well be wood planks on the interior walls or a nearby object. The painting clearly has more vertical lines on the right shoulder (green circle) compared to the actual photo of Joseph, and it seems that more details of the photography studio can be seen in the actual photo. The green lines are meant to illustrate some key markers in the reflection. By utilizing the jacket button as a reference point, as well as the blue line, it can be observed that the green marker line is in a different position. Therefore, the conclusion is that despite similar lighting and reflection, the two objects are different. One represents a painting of Joseph, while the other is a copy of his daguerreotype. Both small daguerreotypes were most likely placed in a similar horizontal position and photographed in succession. This section alone provides additional evidence and provenance for the copy of the original daguerreotype. The embedded mirrored image serves as a timestamp in history, further validating its authenticity. (This section was updated on 7/4/23) Below is an inverted image as well for further examination.

 

6. Photographic Qualities:

Let's delve into the photographic qualities of the Marshall photo compared to the RLDS Painting. The painting, being a flat 2D object, retains its crisp lines, the painting is in focus in its entirety, while the Marshall photo exhibits variations in focus evident through the blurring of the cuff, hair, and shoulders of Joseph. This difference can be attributed to the inherent characteristics of daguerreotype photography. Daguerreotype photos were known for their shallow depth of field, a result of the limitations of the lenses used. It was crucial to prioritize focus on key features such as the eyes, even if it meant sacrificing other details.

Another notable photographic detail in the Marshall photo is what is commonly referred to as "blown whites." This feature manifests as a halo around lighter objects, caused by overexposure during the long exposure time required for daguerreotypes. It also leads to a reduction in information in the light or white areas of the image. It's important to note that the version of the photo you see on my blog has had the contrast adjusted to compensate for this.

 7. Exploring Theories:

Now, let's revisit the question of whether the Marshall photo is a copy of the RLDS painting and examine how these differences between them arose. There have been various theories put forward, and it's important to consider their plausibility. One theory suggests the use of Indian ink on a negative, but this would require much more than a few strokes to create the notable differences seen in the Marshall photo. Additionally, Indian ink appears as white in a photo because the negative is in reverse, making this theory less likely.

Another theory proposes that a photo of the painting was taken, printed, edited, and then re-photographed. However, each time something is re-photographed, information is lost, as can be observed in the Library of Congress photo. In contrast, the Marshall photo contains a remarkable amount of detail considering its small size. Furthermore, some of the hidden details in the overexposed whites of the Marshall photo have been brought to light with the help of modern technology. It seems unlikely that an artist in 1879 would intentionally give Joseph a crooked nose and try to imitate the imperfections of daguerreotype photography. Artists typically aimed to portray their subjects in a more idealized manner, and I haven't come across any other paintings or drawings of Joseph showing his crooked nose.

 

Moreover, the fact that the crooked nose in the Marshall photo matches Joseph Smith Jr.'s death mask raises questions. All these theories suggesting that the Marshall photo originated from the RLDS painting can be easily debunked with common sense. So, what is an alternative theory that offers a simple and logical explanation? It is, I would suggest, the most probable that the RLDS painting was created with the assistance of a daguerreotype photo, perhaps using a Camera Lucida. This explanation accounts for the differences between the two and allows for artistic liberties taken during the process.

 

Conclusion:

In conclusion, a thorough examination of the unproven factors surrounding the Marshall photo and its supposed connection to the RLDS painting strongly suggests that they are not direct copies of each other. The significant visual differences observed in facial features, clothing, background, cuff alignment, and striations discredit the theory of a simple replication. Moreover, the distinct photographic qualities exhibited by the Marshall photo, such as variations in focus and "blown whites," align with the known characteristics of daguerreotype photography.

In contrast, the theory proposing that the RLDS painting was created with the assistance of a daguerreotype photo, potentially utilizing tools like a Camera Lucida, offers a more plausible and logical explanation. This theory accounts for both the similarities and the artistic liberties taken in the creation of the painting, providing a coherent narrative that aligns with the evidence at hand.