English school, ca. 1820. Circle of SIR THOMAS LAWRENCE (Bristol, 1769 - London, 1830). "Portrait of a Child. Oil on canvas. Relined Missing paint. Si

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Oct 20, 2021

Set Reminder 2021-10-20 07:30:00 2021-10-20 07:30:00 America/New_York Bidsquare Bidsquare : OLD MASTERS https://www.bidsquare.com/auctions/setdart-auction-house/old-masters-7700
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• Lot Description
  English school, ca. 1820. Circle of SIR THOMAS LAWRENCE (Bristol, 1769 - London, 1830). "Portrait of a Child. Oil on canvas. Relined Missing paint. Size: 90 x 70 cm; 106 x 85 cm (frame). This portrait, close to Sir Thomas Lawrence's circle, represents a young Englishman dressed in a black coat with high collars. The natural, youthful face is enlivened by a gentle smile and has been treated with great delicacy, with a brushstroke that blends in without leaving obvious traces. The figure is set against a neutral background, but on the left is a legend inscribed on a circular shield. Both the composition and the workmanship of this excellent portrait fit in with the characteristics of the best English portrait painting of the first quarter of the 19th century, and especially with the work of Sir Thomas Lawrence and his closest circle. Sir Thomas Lawrence was, after the death of Joshua Reynolds in 1792, Britain's foremost portraitist. His early training was in Bath, where he learned the technique of pastel from William Hoare and the correct handling of oils from Thomas Barker. In 1787 he moved to London, where he exhibited his first works at the Royal Academy. He began to triumph thanks to his female portraits, such as that of Elizabeth Farren, in which we can already discern certain traits of sensitivity that he would develop in his more mature production. In 1791 he was admitted to the Royal Academy and the following year, following the death of Joshua Reynolds, he became the king's painter. In 1815 he was knighted and that same year the royal family commissioned a series of portraits for the Waterloo Chamber at Windsor Castle. In 1820 he succeeded Benjamin West as president of the Royal Academy. Lawrence's portraits were based on Reynolds's "grand style", but the Bristol painter opened the way for a new concept of portraiture with regard to the model, his personal bearing and his emotional portrayal. He succeeded in recovering a highly personal vision of his sitters, which was already typical of Romantic and Victorian portraiture. His models are presented in relaxed, natural poses, the brushstrokes are delicate, imperceptible in the faces and lighter and more sketchy in the clothes and the landscape, which almost always plays an important role.
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