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Portrait Of A Lady In A Blue Dress C.1665; John Michael Wright (1617-1694)
Status:This item has been sold Sold by:Titan Fine Art
This sublime work is an outstanding example of portraiture by one of the most successful native English artists of the seventeenth century. It is even more remarkable that John Michael Wright was highly sought after by patrons from the upper echelons of society, amongst the legions of foreign-born artists working in England at the time. His Italianate flavour was unlike any other artist’s work in England, his lively faces were individualised, and he painted a much superior likeness than his contemporaries such as Peter Lely.
In this touching composition, painted around the time of London’s Great Fire in 1666, a young woman is represented as a confident and alluring individual. At first sight it appears to be a straightforward portrait of a woman dressed in contemporary clothing, the image – and specifically, the direct gaze and the long hair – borders on the erotic (at least by 17th century standards); it is in fact laden with aesthetic and allegorical allusions, possibly with mu...ltiple meanings, of which the portrait’s original audiences would certainly have been aware. The ‘head on hand’ portrait became hugely popular in England in the 1660’s, largely due to Peter Lely’s depiction of Barbara Villiers, who was prominent at court (it could be described as her ‘signature image’). John Michael Wright produced his own version of Villiers too; he often used the formula. A notable example is his portrait of Lady Joanna Thornhill (1635-1709), painted c.1666, where it is suggesting contemplation and melancholy, and may allude to the loss of her husband. He painted at least four versions of it. Wright later used an adapted version of this portrait type, with much more explicit connotations of mourning, for his portrait of Anne Howard, Countess of Carlisle, shows the sitter dressed in black and holding a paper inscribed ‘Nothing can repair my Loss’. A similar portrait of a lady by Wright, thought to be Ann Davis, Lady Lee, sold for 155,000 euros (Drouot Richelieu, Paris, lot 53) on June 13, 2007.
The pose had its origins in the Renaissance depictions of beautiful women, particularly those of Titian and his followers, and also the iconography associated with the depiction of Melancholia. In the 17th century (and still today) their paintings of Italian belle (beauties) were believed to be portraits of Venetian courtesans thinly disguised as images of Venus. The holding of the hair in the hand was a gesture derived directly from Renaissance depictions of that goddess engaged in her private toilette, and women’s portraits featuring the pose were broadly seen as images of modern-day Venuses available and vulnerable to the viewer as they primped and perfected their beauty in the privacy of their boudoirs.
John Michael Wright was one of the most successful native English artists of the seventeenth century, and, along with earlier contemporaries such as Robert Walker and William Dobson, was one of only a handful to find favour amongst the top echelons of society. He introduced a rather Italian flavour into British painting, unlike all the other portrait painters in second half of the century. When placed next to Lely’s work, for example, Wright’s lively and realistic characterisations tend to reinforce Pepy’s critique that Lely’s portraits were ‘good but not like’ and Pepy’s comment in 1662, upon leaving Lely’s studio and visiting Wright’s, states the contrast between the two: “[from] Mr Lillys… Thence to Wrights the painter’s, but Lord, the difference that is between their two works’.
This highly original portrait is notable for being quite unlike the majority of English portraits of the period. No other English artist before Wright had travelled and studied so extensively on the continent. During his more than ten years in Rome, and practise of painting in France and ‘other parts’ presu
Much more info about this item at: www.titanfineart.com
In a market saturated with available paintings, Titan Fine Art offers a distinct advantage: we sift through thousands of works to provide a specially curated selection. Each piece is meticulously chosen based on technical merit, provenance, and decorative appeal, ensuring our clients view only the finest examples of British and European art.
With over 20 years of expertise and 1,000+ works placed with collectors and institutions, we are one of the most prolific specialists in 17th and 18th-century portraiture. We combine a scholarly approach with museum-level rigor to replace the uncertainty of the open market with absolute confidence.
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Antique ID Number (AIDN): SA638438
Dateline of this antique is 17th Century
Height is 86cm (33.9inches)Width is 73cm (28.7inches)Depth is 6cm (2.4inches)
Antique SA638438 shown on this page was made in the 17th Century. For historical context, the timeline below highlights the period when it was created:
←C17th
ANTIQUE SA638438
CONTACT DETAILS OF SELLER:
Titan Fine Art
Specialist in 17th & 18thC portraits. Highly curated selection, museum-level research & pro conservation. Exceptional art, expertly vetted.
London
United Kingdom
Tel: 07875 412 111
STATUS
THIS ITEM HAS BEEN SOLD
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