Period Portraits has dated this 18th Century Oil Portrait to the 18th Century.
The elegant and fashionable young sitter is depicted shoulder length against a fawn ground. He wears a costume which is very much ’a la mode’ as it blends elements of English dress with distinctly continental influences.
Trendsetting in the 18th century was a gentlemanly vocation and ‘The Grand Tour’ was a formative experience for many young aristocratic gentlemen. It helped to shape their identities, including their ability to demonstrate their social status through dress.
With his body slightly inclined our handsome subject fixes us with an intense yet pleasing gaze. He sports a sumptuous scarlet jacket and matching waistcoat, the colours of which remain vibrant and arresting. The areas of impasto paint visible here, reveal the artists considerable skill in rendering the velvet fabric used in their construction.
His jabot (the decorative frill of lace or cloth worn down the front of his shirt) has been freely fashioned in bravura cross hatched brushstrokes to create cascading Continental lace. His black silk bow tie is the perfect final counterpoint.
Wigs were also de rigeur and often elaborately styled, so it is highly likely that the sitter is wearing a ‘bag wig’ rather than a coiffure that imitates one. It has large, full curls on the sides, often referred to as bouffant curls or side rolls. The exaggerated black ribbon which is visible at the back of his neck, would hold his own hair or a wig's ponytail (queue).
His coiffure also appears to be powdered and wig powder was a cosmetic product widely used in the 18th century and it was a crucial part of the fashionable look of the time and it was typically made from finely ground starch, such as flour from wheat or corn and often scented with a variety of fragrances, including: Lavender Orange flower Orris root. The most common colour was off-white or a greyish hue we see here, however it could also be dyed in different colours like violet, blue, pink, or yellow.
The powder was often puffed onto the hair or wig using a bellows or a special powder puff. To keep it from getting all overclothes and furniture, people would sometimes have a separate room, or a small cabinet, where the powdering was done. This is thought to be one of the origins of the term powder room.
Jean-Baptiste van Loo (1684-1745)
Jean-Baptiste van Loo, born at Aix-en-Provence, was taught by his father, Louis-Abraham van Loo. Early on he worked in a number of cities in France and Italy decorating churches and public buildings. While in Turin he painted portraits of Charles Emmanuel II, Duke of Savoy and several members of his court. In 1737, van Loo arrived in England, where his portraits of the playwright and poet, Colley Cibber, and the Irish entrepreneur and patron of the arts, Owen McSwiny, attracted much attention. it was here where he made an international name for himself, causing all who had their portrait painted by him to be in enviable positions.
Van Loo painted portraits of Sir Robert Walpole and the Prince and Princess of Wales. However, his sojourn in England was short-lived, his failing health causing him to return to France in 1742.
This fine portrait is housed in in a fine quality antique frame and is in an excellent state of conservation.
Higher Resolution images on request.
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Canvas: 22" x 17" / 77cm x 64cm.
Frame: 29" x 24" / 92cm x 79cm
Period Portraits has dated this 18th Century Oil Portrait to the 18th Century.
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Jean-baptiste Van Loo (1684-1745) - Early 18th Century Portrait of a Gentleman in a Scarlet Jacket
