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Samuel Morse

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Samuel F. B. Morse

Samuel Finley Breese Morse, ca. 1845
Lahir: (1791-04-27)27 April 1791
Charlestown, Massachusetts
Meninggal dunia:April 2, 1872(1872-04-02) (umur 80)
5 West 22nd Street, Bandar Raya New York, New York
Pekerjaan: Pelukis, Pencipta
Pasangan:Lucretia Pickering Walker dan Sarah Elizabeth Griswold

Samuel Finley Breese Morse ialah warga Amerika Syarikat yang terkenal kerana mencipta sistem telegraf berdawai tunggal dan kod Morse, serta juga melukis beberapa pemandangan bersejarah.

Kehidupan awal

Samuel F.B. Morse lahir pada 27 April 1791 di bandar Charlestown, Massachusetts, sebagai anak sulung kepada ahli geografi dan Paderi Jedidiah Morse (1761-1826) dan Elizabeth Ann Finley Breese (1766-1828).[1] Jedidiah merupakan seorang pendakwah mazhab Calvinisme dan penyokong Parti Federalis Amerika Syarikat, bukan sahaja untuk mengiktiraf perjuangan parti tersebut mempertahankan tradisi Puritan (mentaati adat hari Sabat), malah mempercayai perikatannya bersama Britain untuk membentuk kerajaan pusat yang teguh. Jedidiah amat mempercayai sistem pendidikan berlandaskan kerangka Federalis berdasarkan nilai-nilai, akhlak dan ibadah Calvinisme untuk anaknya. Selepas tamat belajar di Akademi Phillips di Andover, Massachusetts, Samuel Morse melanjutkan pelajaran ke Kolej Yale untuk menelaah pelajaran falsafah keagamaan, matematik dan sains kuda. Ketika menuntut di Yale, beliau menghadiri kulian elektrik yang diacarakan oleh Benjamin Silliman dan Jeremiah Day. Beliau juga menjual lukisan untuk mencari pendapatan. Pada tahun 1810, beliau menerima ijazah dari Yale dengan penghormatan Phi Beta Kappa.[2]

Seni lukis

The Chapel of the Virgin at Subiaco

Pegangan Morse terhadap kepercayaan Calvinisme terbukti dalam hasil seni lukisan beliau yang berjudul Landing of the Pilgrims, melalui gambaran pakaian serba ringkas di samping wajah muka yang the austere facial features. Luksian berkenaan memaparkan cara pemikiran pengikut parti Federalis; penganut Calvinisme dari England membawa idea-idea keagamaan dan kerajaan ke Amerika Syarikat, sekaligus menghubungkan kedua-dua negara buat selamanya. Lebih-lebih lagi, karya ini menarik perhatian pelukis terkenal Washington Allston. Allston mahu Morse menemaninya ke England untuk berjumpa dengan pelukis Benjamin West. Setelah memohon izin bapanya, Morse pun berlayar bersama Allston di kapal Lydia pada 15 Julai 1811 (1) dan menetap di sana selama tiga tahun.

Setibanya di England, Morse tekun memperhalusi teknik seni lukisnya di bawah bimbingan Allston. Pada akhir tahun 1811, beliau diterima masuk ke Royal Academy. Di situ, beliau meminati seni Neoklasik dari zaman Renaissance serta memberi perhatian khusus kepada hasil seni Michelangelo dan Raphael. Setelah memerhati dan melatih seni lukis kehidupan dan menyerap penekanannya terhadap anatomi, artis muda ini berjaya menghasilkan mahakarya bertajuk Dying Hercules.

Bagi sesetengah pihak, seni Dying Hercules kelihatan melambangkan kenyataan politik terhadap pihak British dan penyokong Federalis Amerika Syarikat. Otot-otot di dalam karya tersebut melambangkan kekuatan pemuda Amerika Syarikat berbanding rakyat Britain dan penyokong Britain-Amerika. Sepanjang masa Morse di Britain, rakyat Amerika dan Britain sedang bergelut dalam peperangan 1812 ini telah mewujudkan pecahan kaum di Amerika tentang kesetiaan. Anti-federal di Amerika menyokong Perancis, membenci Britain, dan percaya bahawa kerajaan pusat yang kuat akan mendatangkan kesan buruk kepada demokrasi. (3) Semakin lama perang, surat-surat beliau kepada ibu bapanya semakin menterjemahkan nada anti-Federal. Dalam satu suratnya, Morse menyatakan, "Saya menyatakan bahawa ahli Federal di bahagian utara Amerika telah mendatangkan banyak kesan buruk kepada negara akibat pembangkangan yang kejam berbanding sekutu Perancis. Prosiding mereka disalin ke artikel inggeris, dibaca di Parlime, dan diedarkan di seluruh negara, dan apa yang mereka katakan.. mereka menyelar mereka (ahli Federal) penakut, bermaksud, mereka adalah pengkhianat kepada negara dan sewajarnya degantung sebagai pengkhianat."

Morse ketika muda.

Although Jedidiah did not change his political views, he did influence Morse’s in another way. It is unmistakably clear that Jedidiah’s Calvinist ideas were an integral part of Morse’s other significant English piece Judgment of Jupiter. Jupiter in the cloud, accompanied by his eagle, with his hand over the parties, is pronouncing judgment. Marpessa with an expression of compunction and shame, imploring forgiveness, is throwing herself into the arms of her husband. Idas, who tenderly loved Marpessa, is eagerly rushing forward to receive her, while Apollo stares with surprise… at the unexpectedness of her decision (5). A case can be made that Jupiter is representative of God’s omnipotence watching every move that is made. One might deem the portrait as a moral teaching by Morse on infidelity. Although Marpessa fell victim she realized that her eternal salvation was important and desisted from her wicked ways. Apollo shows no remorse for what he did, but just stands there with a puzzled look. A lot of the American paintings throughout the early nineteenth century had religious themes and tones and it was Morse who was the forerunner. Judgment of Jupiter allowed Morse to express his support of Anti Federalism while maintaining his strong spiritual convictions. This work represented American nationalism through Calvinism because these individuals expelled from England, contributed to the expulsion of the English (1776 and now in 1812) and established a free democratic society. West sought to present this image at another Royal Academy exhibition; unfortunately his time had run out. He left England on August 21, 1815 and began his full-time career as an American painter (6).

The years 1815-1825 marked significant growth in Morse’s paintings as he sought to capture the essence of America’s culture and life. He had the honor of painting former Federalist President John Adams (1816). He hoped to become part of grander projects and saw his opportunity with the clash between Federalist and Anti-Federalists over Dartmouth College. Morse was able to paint Judge Woodward (1817) who was involved in bringing the Dartmouth case before the Supreme Court and the college’s president, Francis Brown. He sought commissions in Charleston, South Carolina (1818). Morse’s painting of Mrs. Emma Quash symbolized the opulence of Charleston. It seemed for the time being, the young artist was doing well for himself (7).

Between 1819 and 1821, Morse experienced a great change in his life. Commissions ceased in Charleston when the city was hit with an economic recession. Jedidiah was forced to resign from his ministerial position as he was unsuccessful in stopping the rift within Calvinism. The new branch that formed was the Congregational Unitarians which he deemed as detestable anti-Federalists because these persons took a different approach over salvation. Although he respected his father’s religious opinions, he sympathized with the Unitarians. A prominent family that converted to the new Calvinist faith was the Pickerings of Portsmouth whom Morse had painted. This portrait can then be viewed as a further shift towards anti-Federalism. A person could argue that he made his full transition to anti- Federalism when he was commissioned to paint President James Monroe (1820). Monroe embodied Jeffersonian Democracy by favoring the common man over the aristocrat; later reemphasized upon the ascension of Andrew Jackson (8).

Puan Daniel de Saussure Bacot, contoh seni potret Morse.

There were two defining commissions that shaped Morse’s art career from his return to New Haven until the establishment of the National Academy of Design. The Hall of Congress (1821) and the Marquis de Lafayette (1825) embroiled Morse’s sense of democratic nationalism. The artist chose to paint the House of Representatives, to show American democracy in action. He traveled to Washington D.C. to draw the architecture of the new halls, carefully placing eighty individuals within the painting and believed that a night scene was appropriate. He successfully balanced the architecture of the Rotunda with the figurines and the glow of the lamplight serving as the focal point of the work. Pairs of people, those who stood alone, individuals bent over their desks working were painted simply but had characterized faces. Morse chose nighttime to convey Congress’ dedication to the principles of democracy transcended day. The Hall of Congress however, failed to draw a crowd in New York City. One possible reason for the disappointment was the shadow of John Trumbull’s Declaration of Independence that won popular acclaim in 1820. Perhaps some individuals did not appreciate the inner-workings of the American government (9).

Morse felt a great degree of honor of painting the Marquis de Lafayette, leading supporter of the American Revolution. He felt compelled to paint a grandiose portrait of the man who helped to establish a free and independent America. In his image, he enshrouds Lafayette with a magnificent sunset as he stands to the right of three pedestals of which two are Benjamin Franklin and George Washington with the final reserved for him. A peaceful wooden landscape below him symbolized American tranquility and prosperity as it approach the age of fifty. The developing friendship between Morse and Lafayette and the discussion of the Revolutionary War, affected the artist upon returning to New York City (10).

Morse was in Europe for three years improving his painting skills, 1830-1832, travelling in Italy, Switzerland and France. The project he eventually selected was to paint miniature copies of some 38 of the Louvre's famous paintings on a single canvas (6 ft. x 9 ft) which he entitled The Gallery of the Louvre, planning to complete the work upon his return to the United States. On a subsequent visit to Paris in 1839, Morse met Louis Daguerre and became interested in the latter's daguerreotype, the first practical means of photography. Morse wrote a letter to the New-York Observer describing the invention, which was published widely in the American press and provided a broad awareness.[3] -->

Telegraf

Telegraf asal ciptaan Samuel Morse.

Setelah kembali pada tahun 1832, Morse bertemu dengan Charles Thomas Jackson dari Boston yang pandai dalam bidang elektromagnet. Setelah memerhati berbagai-bagai eksperimen elektromagnet yang dilakukan oleh Jackson, Morse mengembangkan konsep telegraf berdawai tunggal, dan lukisan The Gallery of the Louvre pula diketepikan. Telegraf asal ciptaan Morse yang dipohonkan patennya, menjadi sebahagian koleksi Muzium Kebangsaan Sejarah Amerika di Institusi Smithsonian.[4] Lama-kelamaan kod Morse menjadi bahasa utama telgrafi sedunia, dan kini masih merupakan piawaian pemancaran data secara berirama.

William Fothergill Cooke dan Profesor Charles Wheatstone mencapai peringkat pelancaran telegraf komersil sebelum ciptaan Morse, walaupun lewat lagi baru memulakannya. Di England, Cooke tertarik oleh ciptaan elektrik pada 1836, empat tahun selepas Morse, berbekalkan sumber kewangan yang lebih mencukupi. Cooke mengetepikan bidang anatomi untuk mengusahakan telegraf elektrik kecil dalam masa tiga minggu. Wheatstone juga menguji kaji telegrafi dan mendapati bahawa sebuah bateri besar tunggal tidak mampu membawa isyarat telegraf melalui jarak jauh, manakala sebilangan besar bateri kecil pula jauh lebih berkesan dan cekap melakukan penyampaian isyarat tersebut (Wheatstone meneraskan usahanya pada kajian asal Joseph Henry, seorang ahli fizik Amerika). Cooke and Wheatstone formed a partnership and patented the electrical telegraph in May 1837, and within a short time had provided the Great Western Railway with a 13-batu (21 km) stretch of telegraph. However, Cooke and Wheatstone's multiple wire signaling method would be overtaken by Morse's superior method within a few years. ]</ref> -->

Perkahwinan

Morse mengahwini Lucretia Pickering Walker pada 29 September 1819, di Concord, New Hampshire. Walter meninggal dunia pada 7 Februari 1825, selepas melahirkan anak keempat mereka bersama (Susan b. 1819, Elizabeth b. 1821, Charles b. 1823, James b. 1825). Isteri keduanya ialah Sarah Elizabeth Griswold yang dikahwini pada 10 Ogos 1848 di Utica, New York dan empat lagi anak dilahirkan (Samuel b. 1849, Cornelia b. 1851, William b. 1853, Edward b. 1857).

Paten

Lihat juga

Rujukan dan catatan

  1. ^ "Samuel F. B. Morse". Dicapai pada 2007-02-14.
  2. ^ Salah sebuah bangunan asmara di Yale, iaitu Kolej Morse, diberi namanya sempena Morse pada tahun 1961.
  3. ^ "The Daguerrotipe". The Daguerreian Society. Dicapai pada 2008-09-25.
  4. ^ "Morse's Original Telegraph". National Museum of American History, Smithsonian Institution. Dicapai pada 2008-06-04.


Bacaan selanjutnya

Pautan luar

Public Domain Rencana ini menggabungkan dan menterjemah teks dari penerbitan sekarang di domain awam: Chisholm, Hugh, penyunting (1911). Encyclopædia Britannica (dalam bahasa Inggeris) (ed. ke-11). Cambridge University Press. Missing or empty |title= (bantuan)

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