“Stop to observe this striking 1911 etching of President William H. Taft, a direct and detailed portrait that captures his commanding presence through the crisp lines of the printmaking technique.”
In this 1911 etching, President William H. Taft gazes directly out at us, a formal portrait rendered with remarkable detail. The artist, William H. Key, captures Taft's substantial presence, emphasizing his broad shoulders and the distinguished set of his jaw. The medium of etching on ivory laid paper gives the portrait a crisp, almost photographic quality, allowing for fine lines that define the textures of his suit, the folds of his tie, and the subtle contours of his face. This direct, unembellished depiction reflects a period when presidential portraits aimed for a sense of gravitas and accessibility. The work invites us to consider the public image of a president at the turn of the 20th century, presented not as an idealized figure, but as a man of his time.
- Artist
- William H. Key
- Date
- 1911
- Medium
- Etching on ivory laid paper
- Location
- Art Institute of Chicago
- Dimensions
- Image/plate: 25 × 20 cm (9 7/8 × 7 7/8 in.); Sheet: 40.4 × 29.9 cm (15 15/16 × 11 13/16 in.)
What to Notice
Five details hide in plain sight. Here’s where to look.

The precise lines of Taft's pinstripe suit
The subtle shading that defines the contours of his face
The intricate pattern of his tie and shirt collar
The direct, unwavering gaze of his eyes
1 more detail is waiting.
See all 5 in Art Whisper →William H. Key
1832–1922 · United StatesWilliam H. Key was an American engraver and medalist, whose work included creating intricate designs for coins and commemorative medals.
Further Works by Key
The Key
Art Institute of Chicago
"The Bath," a dripping spring in Kanab Cañon. Temperature, 69° Fahr, No. 9 from the series "Geographical Explorations and Surveys West of the 100th Meridian"
1872 · Art Institute of Chicago
Ahem—Those jokes about absent minded professors
Art Institute of Chicago
Jitterbugs II
Art Institute of Chicago
Ship with Sails Furled and Arrow Pointing to the Right
Art Institute of Chicago
The Jazz Wall
Art Institute of Chicago
"Who knows what Eloise did wrong?"
Art Institute of Chicago
[Group of 266 Stereograph Views of the 1855 and/or 1867 Universal Expositions in Paris, France]
1850 · The Metropolitan Museum of Art
More works to explore
Beyond Key: works from the same years.
Same era · 1890s–1920s
Lozenge Composition with Yellow, Black, Blue, Red, and Gray
Piet Mondrian · 1921 · Art Institute of Chicago
Same era · 1890s–1920s
Female Passerby
Mikhail Larionov · 1911 · Ulyanovsk Oblast Art Museum
Same era · 1890s–1920s
Portrait of Alfred Döblin
Ernst Ludwig Kirchner · 1912 · Busch–Reisinger Museum
Same era · 1890s–1920s
Birth
Marc Chagall · 1911 · Art Institute of Chicago
Same era · 1890s–1920s
Crouching Nude in Shoes and Black Stockings, Back View
Egon Schiele · 1912 · The Metropolitan Museum of Art
Same era · 1890s–1920s
Daniel-Henry Kahnweiler
Pablo Picasso · 1910 · Art Institute of Chicago
Same era · 1890s–1920s
Bathers by a River
Henri Matisse · 1909 · Art Institute of Chicago
Same era · 1890s–1920s
Little Harbor in Normandy
Georges Braque · 1909 · Art Institute of Chicago
Same era · 1890s–1920s
Maude Adams (1872–1953) as Joan of Arc
Alphonse Mucha · 1909 · The Metropolitan Museum of Art
Same era · 1890s–1920s
Sirmione
John Singer Sargent · 1913 · The Metropolitan Museum of Art
Same era · 1890s–1920s
The Magic Foot-ball, 'I thought you were wrong,' he said in triumph. 'You said it was nine! Stupid!'
Norman Rockwell · 1914 · Norman Rockwell Museum
Same era · 1890s–1920s
Consolation
Edvard Munch · 1907 · Munch Museum
