Description

Circle of Mary Beale, British 1633-1699- Portrait of a child with blonde hair, a fragment; oil on unstretched canvas, 19.5 x 16.5 cm. (unframed).

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Circle of Mary Beale, British 1633-1699- Portrait of a child with blonde hair, a fragment; oil on unstretched canvas, 19.5 x 16.5 cm. (unframed).

Estimate 150 - 250 GBP
Starting price 100 GBP

* Not including buyer’s premium.
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Sale fees: 26 %
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For sale on Tuesday 09 Jul : 10:00 (BST)
lambeth, United Kingdom
Roseberys
+4402087612522
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English school; circa 1700. "Portrait of a Knight of the Order of the Garter". Oil on canvas. Relined. Presents faults in the frame. Measurements: 63 x 48 cm; 79 x 64 cm (frame). Portrait of a gentleman that presents the bust of a young man wearing a wig. The man, as it is habitual in the portrait painting of the time, is inscribed on a neutral background of ocher tonality on which stands out the iridescent blue lead of the clothes and the snowy face with rosy cheeks of the protagonist. It is these touches of white that turn the face into the main focus of the piece's illumination. A resource through which the author enhances the corporeality of the figure, which is monumentalized with the darkness and the volume of the wig itself. The position of the body, erect and with a straight back, combines a regal with an air of distinguished authority. The composition shows great skill in the drawing, which gains prominence over color. An example of this is the use of a measured palette, without great stridency, in which the author has sought a balance between the different tonalities. Another common feature, typical of the portraits of this period, and which is reflected in this work in particular, is the interest in capturing reality, reflecting truthfully the features of the protagonist, but without leaving aside the idealization, so we see an effigy with soft, rounded, and friendly forms. The young man is fashionably dressed and the qualities of the fabrics are faithfully portrayed by the artist. The delicacy of the drawing, the composition and the style bring the work closer to the aesthetics of the English school. Specifically to the painting of the artist Mary Beale (1633-1699). A professional painter from the mid-1650s, Mary Beale painted numerous portraits, mostly of her family and friends, including prominent churchmen. Her father's acquaintance with the artist Sir Peter Lely, who took over from Van Dyck as court painter, fostered a friendship between the royal painter and Mary, who copied many of his paintings as an indispensable part of her training, which was largely self-taught. It was this exercise that led to her being praised by Peter Lely himself. Many details of her busy professional life are recorded in the notebooks of her husband, who was her studio assistant. It presents faults in the frame.