She was born Clarissa Peters in February 1809 in the Massachusetts town now known as North Andover, situated twenty-four miles north of Boston. She was the fifth of twelve children born to Elizabeth Farrington Davis and John Peters. The Peters family had been prominent in local affairs for generations, and her father served as chairman of the board of selectmen. Clarissa most likely attended Franklin Academy, the first incorporated institution in Massachusetts to admit young ladies and the same school her younger sister Emily attended from 1836 to 1838.
By 1835 Clarissa Peters was in Boston not only painting miniatures but giving private instruction in the art as well. It is believed that Peters learned her profession from Moses B. Russell. Where and when they first met is unknown, but their careers as fellow miniaturists were intertwined. In 1839 Clarissa Peters was married to Moses Baker Russell (1809-1884) in Providence, Rhode Island. They had one son, Albert Cuyp Russell (1839-1917), who became a wood engraver.
Mrs. Russell first exhibited her work in 1841 at the Third Exhibition of the Massachusetts Charitable Mechanic Association, held in Boston, a show that also included several miniatures by her husband. The Boston Evening Transcript of October 2, 1841 paid its compliments . . . "Mr. M. B. Russell has some miniature paintings which indicate a wonderful degree of skill, and of so exquisite a finish that they will bear the closest scrutiny.... His lady, Mrs. Russell, has also on exhibition three or four specimens, so well executed that we should not know to which of them should be awarded the palm." (silver medal)
From 1840 to 1851 she shared a studio with her husband at 21 School Street in Boston. Mrs. Russell's work has often been confused with that of her husband, which is not surprising, given his tutelage, their exhibitions at the same locations, their occasional joint exhibitions of works under his name only, and the fact that the backing papers on a few of her pieces are inscribed simply "M.B. Russell." Although his influence shows in her work, his work is easily distinguishable from hers on the basis of palette, execution, formality, and subject matter. His infrequent renderings of children have a certain solemnity and lack the sympathy and vibrancy of hers.
The oversized limpid blue eyes of the sitter, the frontal pose of the head and shoulders, and the sitter's placement close to the picture plane create a sense of immediacy that fully engages and holds the viewer. Many of the characteristics we associate with Mrs. Russell's work are present in this portrait. These include the background, here a blend of brown, blue, and grey, although Mrs. Russell also favored gray green, and purple backgrounds. The skylike opening gives the work an atmospheric effect and creates the illusion of depth, counterbalancing the flat features of the subject. The eyelids and irises are heavily outlined, making the eyes the most prominent facial feature. The sitter exudes a sense of animation and good health, with pink cheeks and an intense gaze. The overlarge eyes create an emotional connection between subject and viewer, as is the case in many of Mrs. Russell's portraits.
The mouth is set off by small marks at each corner with a shadow below the lower lip. Upon close scrutiny one can see that the hairs of the eyebrows are individually delineated. The large head and broad forehead is another characteristic of this talented artist. This is an exceptional example of the work of Mrs. Moses B. Russell
Clarissa Peters Russell painted miniatures in Boston between 1836 and 1854. A highly productive artist, her portraits have often been mis-attributed because she occasionally worked with her husband, also a miniaturist, and often signed his name to her works, perhaps in the interest of developing the family business rather than an independent career. The artist developed a particular expertise and a devoted following for her likenesses of women and children. This portrait is in excellent condition and an important example of her work.
The sitter is Caroline T. Leeds, born in Boston in 1823. She married Andrew Chapin Slater (1819-1909) on November 17, 1841 and died in 1905, four years before her husband.
