Lilly Martin Spencer
- Original name:
- Angelique Marie Martin
- Also Known As:
- Angelique Marie Martin
- Notable Works:
- “Truth Unveiling Falsehood”
Lilly Martin Spencer (born November 26, 1822, Exeter, England—died May 22, 1902, New York, New York, U.S.) was an American painter who created enormously popular genre paintings, illustrations, and portraits.
Angelique Martin was the daughter of French parents who emigrated from England to the United States in 1830. She grew up in Marietta, Ohio, and received a thorough education at home. Having exhibited artistic talent from an early age, she began studying drawing and oil painting with local artists. An 1841 exhibit of her paintings in Marietta was a success, and in the fall of that year she settled in Cincinnati, Ohio, where in a few years she firmly established herself as a leading local artist.
She married Benjamin R. Spencer in 1844, and in 1848 she moved to New York City, where her work had already been exhibited successfully at the National Academy of Design and the American Art-Union. Through the American Art-Union and the Western Art Union, reproductions of Spencer’s genre and anecdotal paintings reached thousands of homes and she became nationally known. At an exhibit staged by the American Art-Union in 1852, her works brought higher prices than those of John James Audubon, George Caleb Bingham, Eastman Johnson, and William Sidney Mount. She also received commissions for illustrations from Godey’s Lady’s Book and other magazines, illustrated such books as Elizabeth F. Ellet’s Women of the American Revolution (1850), and executed portraits on private commission. Among her portrait subjects were First Lady Caroline Harrison and suffragist Elizabeth Cady Stanton.
In 1858 Spencer and her large family moved to Newark, New Jersey, but a few years later she established a studio in New York, where for some years she worked on her monumental painting, Truth Unveiling Falsehood, which was acclaimed as a masterwork upon its completion in 1869. She refused as much as $20,000 for the canvas, which was later lost. Her popularity declined in later years, although she continued to work.