Thursday, 27 February 2025

Trump’s Claims of Vast Presidential Powers Run Up Against Article Two of the Constitution and Exceed Previous Presidents’ Power Grabs

How much power does the president really have?

By Claire B. Wofford, Associate Professor of Political Science, College of Charleston

Those who wrote and wrangled over America’s Constitution might be troubled by the second presidency of Donald J. Trump.

While almost all modern presidents flex their muscles in the initial stages of their administration, the first weeks of the second Trump presidency have seen a rapid-fire, often dizzying array of executive actions that have sparked heated, even virulent, disputes among politicians, the media and citizens about how much power the president of the United States should have.

Historians differ about the framers’ precise intent regarding the executive branch. But the general consensus is twofold: First, domestic lawmaking power, including the critical “power of the purse,” would rest with Congress; second, the president would not be the equivalent of a king.

Fresh off the coercion of King George III, the framers were in no mood to recreate the British system. They debated extensively about whether the executive branch should be led by more than one person. A single chief executive was eventually favored in part because other institutional checks, including the selection of the president by the American people and Congress’ ability to impeach, seemed sufficient. And, of course, Congress would retain lawmaking powers.

Almost immediately, however, Congress began delegating some of that power to the presidency. As the nation grew and Congress found itself unable to manage the ensuing demands, it put more and more policymaking powers into the executive branch.

Congress frequently passed vaguely worded statutes and left important details largely to the president about how to manage, for instance, immigration or the environment. President-as-policymaker and the development of an immense federal bureaucracy that is now in the crosshairs of Trump and Elon Musk was one unintended result.

Whether the current American president has become a king, particularly after the sweeping grant of immunity in 2024 by the Supreme Court and the seeming acquiescence by Congress to Trump’s latest directives, remains up for debate.

In 2019, Trump said, “And then I have an Article 2, where I have the right to do whatever I want as President.”

I’m a constitutional law scholar, and I can comfortably respond: With all due respect, Mr. President, no. Article 2 does not grant the president unlimited power.

Here’s what the Constitution does say – and doesn’t say – about the power of the president.

Men in a high-ceilinged room, some writing, some talking.
An 1881 depiction of the 1787 Constitutional Convention in Philadelphia. Alfred Kappes and Frederick Juengling, New York Public Library Digital Collections

Exploiting imprecise language

The Constitution divides power among the three branches of the federal government – executive, legislative and judicial.

Article 1 specifies in great detail the structure and powers of Congress. In comparison, Article 2 is relatively short, outlining the powers of the executive branch, which now encompasses the president, his advisers and various departments and agencies.

There is no extensive laundry list of enumerated powers for the executive branch. Instead, there is a smattering. The president is given the power to “grant reprieves and pardons,” to “receive ambassadors,” and, with the consent of the Senate, “make treaties” and “appoint” various federal officials. The president is also the “Commander in Chief.”

Aside from the ability to veto legislation and “recommend” policies to Congress, the president was intended to serve primarily as an administrator of congressional statutes, not a policymaker.

It is other, much less precise language in Article 2 that undergirds much of what Trump claims he can do – and what opponents say he cannot.

Specifically, Section 1 states, “The Executive power shall be vested in a President,” and Section 3 requires the President to “take care that the laws be faithfully executed.”

On their face, these “vesting” and “take care” clauses seem relatively innocuous, reflecting the framers’ view that the President would implement rather than create the nation’s public policy. Congress would have that prerogative, with the president generally confined to ensuring those laws were carried out appropriately.

Trump and his allies, however, have seized on these words as authorizing unlimited control over each of the 4 million employees of the executive branch and, through program changes and spending freezes, allowing him to exert significant policymaking power for the nation.

The administration has now surpassed what even the strongest proponents of presidential power may have once argued. Trump adviser Stephen Miller has said, “All executive power is vested in the one man elected by the whole nation. No unelected bureaucrat has any ‘independent’ authority.”

Yet the overriding goal of the framers at the Constitutional Convention was to avoid creating an American version of the British monarchy, with a single, unaccountable ruler in charge of national policymaking, free to implement his vision at will.

In the view of Trump’s critics, this is precisely what has occurred.

A man at a desk holding a folder with white paper inside it.
President Donald Trump signs an executive order on Feb. 14, 2025, at the White House. Andrew Harnik/Getty Images

Going around Congress

Trump is not the first president to use Article 2’s ambiguity to push the boundaries of executive authority.

Particularly since the end of World War II and the Franklin D. Roosevelt administration, presidents have seized upon the same phrases in the Constitution to put their particular political agendas into action.

Barack Obama, for instance, famously touted his “phone and pen” as a way to make policy when Congress refused.

The vehicle for most executive branch policymaking, including by Trump, has been the executive order. Executive orders are mentioned nowhere in the Constitution, but presidents have, since the very earliest days of the republic, issued these directives under their “executive” and “take care” power. Since the founding, there have been tens of thousands of executive orders, used by Democratic and Republican presidents alike.

Often, executive orders are relatively minor. They form commissions, set holiday schedules or brand an agency with a new seal. Dozens are signed unnoticed during every administration.

In other instances, they have sweeping and substantive effect.

Among those, Abraham Lincoln’s Emancipation Proclamation freed Southern slaves, Franklin Roosevelt placed Japanese Americans in internment camps, Harry S. Truman integrated the military, and Joe Biden forgave student loans. Trump has attempted to redefine birthright citizenship – a move which, for now, has been stopped by federal courts.

Because they have the force of law and remain in place until revoked by a subsequent president, executive orders have often faced legal challenges. Currently, there are more than 80 lawsuits challenging Trump’s executive orders for violating both federal law and the Constitution. Some orders, but not all, have been halted by lower courts.

But if many presidents have believed that Article 2 of the Constitution gives them the power to make policy via executive order, the nation’s highest court hasn’t always agreed.

Out of bounds?

Requests to the high court to rule on Trump’s executive orders are a virtual certainty.

Historically, the Supreme Court has struck down some executive orders as outside the scope of Article 2. As the court wrote in 1952, “In the framework of our Constitution, the President’s power to see that the laws are faithfully executed refutes the idea that he is to be a lawmaker.”

Whether Trump’s various directives are within his Article 2 authority or violate both the letter and spirit of the Constitution awaits determination, most likely by the U.S. Supreme Court. Much of the genius of that document is its often ambiguous language, letting the government adapt to a changing nation.

Yet that very ambiguity has allowed both sides of today’s political divide to claim that their version of executive power is faithful to the framers’ vision. As with the Civil War and the Civil Rights Movements, such a dispute could very well drive the U.S. to the breaking point.

Congress or the American people may eventually decide that Trump has gone too far. The next presidential election is years away, but Congress still retains the power of impeachment. More realistically, they could rein him in via legislation, as they did with President Richard Nixon.

For now, it is up to the judicial system to evaluate what the administration has done. Courts will need to use their constitutionally mandated authority to evaluate whether Trump has exceeded his. The Conversation

Claire B. Wofford, Associate Professor of Political Science, College of Charleston


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Monday, 24 February 2025

London Fashion Week: Alice Temperley's New Napoleonic Autumn/Winter 2025 Collection

A soigne look from Alice Temperley's new AW25 collection was presented at London Fashion Week. Masthead cover picture by Elli Ioannou for DAM

Temperley London’s Autumn/Winter 2025 collection, La Victoire, draws inspiration from the Napoleonic era, blending historical references with the brand’s signature craftsmanship. Marking 25 years in the industry, Alice Temperley presents a collection that explores the tension between military-inspired tailoring and luxurious fabrics, writes Antonio Visconti 

Designer Alice Temperley (centre)
at the presentation of her new 
collection in London
ALICE TEMPERLEY'S new collection reflects a broader trend in fashion: using historical aesthetics as inspiration for contemporary design. Celebrating the brand’s 25th anniversary, the new range pays homage to the label's signature intricate detailing

"La Victoire has been a labour of love, and my whole team has worked so hard to make this happen," said Alice Temperley MBE. "It’s been a journey these last 25 years, and I can happily say about this collection that I want it all."

Since founding Temperley London at the turn of the millennium, Alice Temperley has built a brand known for its distinctive British bohemian spirit. The label's following includes The Duchess of Cambridge, Madonna, Beyoncé, and Penélope Cruz.  

The new collection's bespoke toile du jouy print evinces both the personal and historic inspirations, from Temperley’s Somerset heritage to her devotion to meticulous design. Sumptuous greens, dark blues, and deep reds form the palette, with embellishments such as hand-painted medal motifs, jacquard weaves, and embroidered insignias lending a regal air.

"La Victoire has been a labour of love, and my whole team has worked so hard to make this happen"

A beautifully tailored and draped
design from the AW25 collection
The structured silhouettes nod to military uniforms are softened by luxurious fabrics and contemporary cuts. 

Precision tailoring meets ornate detailing in the form of colour-blocked coats and fluid evening gowns that capture the elegance of historic court attire. Velvet jacquards, sculptural draping, and intricate embroidery add to the rich panoply. 

Temperley’s mastery of print is evident throughout, particularly in the refined jacquard iterations of the fashion house's signature T-logo, a reimagining of the branding. Meanwhile, delicate medal prints on silk satin bridge the past with the present.

For evening wear, the collection embraces a more dramatic mood. Opulent velvets, decorative detailing, and a sense of Gothic romance take centre stage. \

Leopard velvet jacquard adds a touch of glamour, reinforcing the collection’s balance between tailoring and fluidity.

Scroll down to see more highlights from the Temperley London AW25 collection





































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Friday, 21 February 2025

Scottish Colourists Exhibition: the Painters Who Stood Shoulder to Shoulder with Matisse and Cezanne

George Leslie Hunter's Peonies in a Chinese vase, oil on board, 1925. Fleming Collection. Masthead cover picture by Elli Ioannou for DAM of Celia Kritharioti's haute couture SS25 collecion in Paris.

By Dr Blane Savage, University of the West of Scotland

The exhibition curator James Knox is to be congratulated on bringing together an impressive collection of work that tells the story of a diverse group of artists who helped transform and modernise British art in the early 20th century and contains work held in private collections not seen by the public before.

SJ Peploe, The Luxembourg Gardens, c.1910,
oil on panel. Fleming Collection
The Scottish Colourists: Radical Perspectives at the Dovecot in Edinburgh centres on the creativity of four Scottish artists: Samuel John Peploe, John Duncan Fergusson, Francis Campbell Boileau Cadell and George Leslie Hunter, who are known to be among Scotland’s most innovative and radical painters.

The Scottish colourists, as they were known, all visited and lived in Paris and were heavily influenced by the burgeoning avant-garde movement there in the early years of the 20th century. This was during its most dynamic and transformative stages, when cubism, post-impressionism and fauvism movements were evolving.

The exhibition highlights and contrasts the work produced by the colourists to that of Roger Fry’s Bloomsbury group members, Vanessa Bell and her amour Duncan Grant. It also includes work by the Fitzroy Street Group and several distinguished Welsh artists of that time, Augustus John and James Dickson Innes, as well as fauvist artists Andre Derain and Kees van Dongen.

The colourists’ paintings stand out in the exhibition through the maturity and confidence of their artworks, the tonal qualities and vibrancy of their colour palettes consistently rising above the more muted works surrounding them.

The Drift Posts by JD Ferguson,1928,
 oil on canvas. Fleming Collection 
The capacity of the colourists to study, travel and seek inspiration internationally, away from a grey Scottish Presbyterian climate, and particularly, embedding themselves in the Paris art scene in the early 20th century is impressive.

These artists stood shoulder to shoulder with their European contemporaries, inspired by the post-impressionist work of Cezanne, Matisse, Van Gogh and Derain. They delivered consistent and highly sophisticated artworks throughout their careers exploring light, shape and dynamic colour ranges, and often painted outdoors.

Each of the Scottish colourists returned to Scotland bringing new approaches to art with them. Peploe experimented with Cezanne-like geometric forms, whereas Fergusson’s practice was heavily influenced by the fauves. Hunter experimented with simplified post-impressionist blocks of colour to create dynamic shapes, while Cadell often focused on bold shapes and stylish impressionistic compositions.

Peploe, Hunter and Cadell exhibited in London’s Leicester Gallery in 1923 where they were first described as the “three colourists” by critic P.G. Konody.

Peploe, Fergusson and Hunter’s reputations were enhanced in 1924 when their work was bought by the French state after an exhibition organised by one of the most influential art dealers in Europe, Glaswegian Alexander Reid. He represented the four artists at the Galerie Barbazanges in Paris entitled Les Peintres de L’Ecosse Moderne, and turned their loose affiliation into an art movement.

Reid had also been responsible for developing the profile of The Glasgow Boys – a group of radical young painters whose disillusionment with academic painting signalled the birth of modernism in Scotland in the late 19th century. Reid was also a central figure in developing Sir William Burrell’s art collection. This was closely followed by a further exhibition in London’s Leicester Gallery in 1925 and then in Paris in 1931.

SJ Peploe, Kirkudbright, c. 1918,
oil on canvas. Fleming Collection
Peploe was the most commercially successful of the four artists, having a still life purchased by the Tate in 1927. His painting of Paris Plage captures the atmospherically startling white light of that French region. His studio work with a still life of flowers and fruit had the hallmarks of Cezanne’s style.

His love of outdoor landscapes, as shown in Kirkcudbright, painted in south-west Scotland, also resemble Cezanne’s primary geometric forms. He visited the island of Iona on a number of occasions with Cadell and other painters, revealing his love of the white sands, rocks and water which can be seen in Green Sea, Iona.

Cadell was known for his powerful still lifes, stylish portraits of elegant women in hats, and for his landscape painting on Iona. Cadell’s Green Sea on Iona and Ben More on Mull on show are part of a series of paintings of the white sands he produced on his regular visits there.

J.D. Fergusson‘s The Blue Hat, Closerie de Lilas is an outstanding piece on show which dazzles with the vibrancy of Parisian cafe life. He was attracted to fauve-like expressive colours and strong outlines in his work. The one piece of sculpture on display is by Fergusson, whose foray into sculptural medium in the Eastre, Hymn to the Sun is striking in its modernist aesthetic – like the female robot character in Fritz Lang’s Metropolis.

Paris Plage by SJ Peploe, c.1906/7,
oil on panel. Fleming Collection
Having no art training like the others, Lesley Hunter’s Still Life with White Jug and Peonies in a Chinese vase highlight his developing skills as a still life painter and they have a striking vibrancy to them. His outdoor scenes use loosely styled daubs of colour in a post-impressionistic style often in vibrant colours.

All the Scottish colourists were recognised for their influence and contribution to the development of Scottish art during their lifetimes, combining aspects of The Glasgow School and cutting-edge Parisian avant garde. But they fell out of fashion due to economic decline before the second world war.

They were rediscovered and packaged as a collective in the 1950s initially by art historian T.J. Honeyman in his book Three Scottish Colourists and were brought together with the inclusion of J.D. Fergusson in the 1980s. Although their key role in the development of Scottish art history is assured, interestingly their appreciation in France is even greater than in Britain.

The Scottish Colourists: Radical Perspectives is on at the Dovecot Studios in Edinburgh until June 28.The Conversation

Dr Blane Savage, Lecturer in MA Creative Media Practice and BA(Hons) Graphic Art & Moving Image, University of the West of Scotland

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