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@portrait-paintings
Madame Henri Leys-Van Haren
Artist: Joseph Lies (Belgian, 1821-1865)
Date: 1857
Medium: Oil on panel
Collection: Royal Museum of Fine Arts, Antwerp, Belgium
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The Wagg Family of Windsor
Artist: Francis Hayman RA (English, 1708-1776)
Date: c. 1738-1740
Medium: Oil on canvas
Collection: Royal Albert Memorial Museum & Art Gallery, Exeter, England
A Member of the Puxley Family
Artist: John Linnell (English, 1792–1882)
Date: 1826
Medium: Oil on canvas
Collection: Yale Center for British Art, New Haven, CT, United States
Self-Portrait
Artist: Joseph Highmore (English, 1692-1780)
Date: c. 1745-1747
Medium: Oil on canvas
Collection: National Gallery of Victoria, Melbourne, Australia
Description
By 1715 Joseph Highmore was established as a portraitist, painting citizens of London ‘in the Very habit they appear in’ as George Vertue, the eighteenth-century chronicler of British art, noted. Highmore was recognized by contemporaries as a master of two portrait styles, which he varied according to his sitter: the elegantly modish, and what George Vertue called a ‘natural easy style’. This handsome Self portrait epitomizes the latter. Highmore presents himself in the dual role of professional artist and educated gentleman.
Elizabeth Flaye
Artist: English School; Formerly attributed to James Gandy (1619-1689)
Date: 1635 to 1645
Medium: Oil on canvas
Collection: Royal Albert Memorial Museum and Art Gallery, Exeter, England
Description
Elizabeth Flaye (1587-1673) was one of Exeter’s prominent citizen’s. Her husband, Thomas was an apothecary and alderman. The couple founded six almshouses in Goldsmith Street whose site now lies within the Guildhall Shopping Centre.
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Sir Edward John Poynter, 1st Bt
Artist: Sir Philip Burne-Jones (British, 1861-1926)
Date: 1909
Medium: Oil on canvas
Collection: National Portrait Gallery, London, United Kingdom
Sitter: Sir Edward John Poynter, 1st Bt (1836-1919), Painter and President of the Royal Academy; ex-officio Trustee of the National Portrait Gallery.
Three Daughters of John, 3rd Earl of Bute
Artist: Johan Zoffany (German, 1733–1810)
Date: c. 1763-1764
Medium: Oil on canvas
Collection: Tate Britain, London, United Kingdom
Matilde Ferrán y Muedra, Wife of the Painter
Artist: Eusebio Valldeperas y Merich (Spanish, 1827-1900)
Date: 1863
Medium: Oil on canvas
Collection: Museo Nacional del Prado, Madrid, Spain
Herbert Barnard John Everett, 1877-1949
Artist: William Orpen (Irish, 1878-1931)
Date: c. 1900
Medium: Oil on canvas
Collection: National Maritime Museum, Greenwich, London
Portrait of the Dancer Camargo
Artist: Nicolas Lancret (French, 1690-1743)
Date: Mid-18th century
Medium: Oil on canvas
Collection: The State Hermitage Museum, Saint Petersburg, Russia
Marie-Anne de Cupis de Camargo
Marie-Anne de Cupis de Camargo (1710–1770), a legendary 18th-century ballerina at the Paris Opéra. She revolutionized ballet by shortening her skirt, adopting flat slippers instead of heeled shoes, and becoming the first woman to execute the entrechat-quatre.
Born in Brussels to a Spanish musician and dance teacher, Marie-Anne de Cupis de Camargo (often called "La Camargo") made her Paris Opéra debut in 1726 and quickly captivated audiences with her speed, agility, and technical precision.
Before her era, female ballet costumes were cumbersome and restrictive, and female dancers rarely performed the intricate footwork typically reserved for men.
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Josiah Andrew Hudleston (1799-1865)
Artist: George Chinnery (English, 1774–1852)
Date: 1832
Medium: Oil on canvas
Collection: Yale Center for British Art, New Haven, CT, United States
Charlotte Newcomen, Lady Gleadowe-Newcomen, 1st Viscountess Newcomen (c.1747-1817) with her Daughters Jane, Teresa and Charlotte in a Garden
Artist: Thomas Hickey (Irish, 1741-1824)
Date: 1770-1779
Medium: Oil on canvas
Collection: National Trust Collections, London, United Kingdom
Elizabeth Bentley (née Pearkes)
Artist: John Hamilton Mortimer (British, 1740–1779)
Date: c. 1775
Medium: Oil on canvas
Collection: Yale Center for British Art, New Haven, CT, United States
Description
Elizabeth Bentley (née Pearkes) was an 18th-century English lace merchant and businesswoman. She, alongside her husband Percivall Bentley, ran a prominent lace-selling business and supplied the King's Great Wardrobe
Portrait of José Nicolás de Azara, Marquis of Nibbiano
Artist: Anton Raphael Mengs (German, 1728-1779)
Date: After 1774
Medium: Oil on canvas
Collection: Getty Museum, Los Angeles, CA, United States
Sitter: Don José Nicolás de Azara y Perera (1730 – 1804) was a Spanish diplomat.
Marcia Pitt and Her Brother George Pitt, Later Second Baron Rivers, Riding in the Park at Stratfield Saye House, Hampshire
Artist: Thomas Gooch (English, 1750–1802)
Date: 1782
Medium: Oil on canvas
Collection: Yale Center for British Art, New Haven, CT, United States
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Portrait of John White Abbott (1763-1851)
Artist: James Leakey (English, 1775-1865)
Date: 1825
Medium: Oil on panel
Collection: Royal Albert Memorial Museum, Exeter, England
Description
The artist, John White Abbott, was born in Exeter, where he also practiced as a surgeon. Francis Towne initially gave him drawing lessons and later became a sketching companion. Although White Abbott exhibited at the Royal Academy between 1793 and 1805, he never gave up his profession as a surgeon.
Venetia, Lady Digby
Artist: Sir Anthony van Dyck (Flemish, 1599-1641)
Date: c. 1633-1634
Medium: Oil on canvas
Collection: National Portrait Gallery, London, United Kingdom
Venetia Anastasia, Lady Digby
Venetia Anastasia, Lady Digby (1600 – 1633) was a celebrated beauty of the Stuart period and the wife of a prominent courtier and scientist, Sir Kenelm Digby. She was a granddaughter of Thomas Percy, 7th Earl of Northumberland and a great-granddaughter of Edward Stanley, 3rd Earl of Derby.
Perhaps painted as a posthumous tribute to Lady Digby, who is shown as Prudence, trampling on Profane Love and spurning two-faced Deceit. The doves and the snake she holds allude to St Matthew: 'Be ye therefore wise as serpents and harmless as doves'.