An Unknown woman
Portrait Miniature
1770-1779 (painted)
1770-1779 (painted)
Artist/Maker | |
Place of origin |
Miniature painting originally referred to the art of painting in watercolour on vellum (fine animal skin). It developed in the early 16th century out of the tradition of illuminating manuscripts (hand-written books). In England, miniature was predominantly a portrait art. It was practised by specialist miniature painters, such as Nicholas Hilliard (1547-1619). On the Continent, miniature painting as a portrait art had a few great practitioners, such as the French painter Jean Clouet (1516?-1572). But not even Clouet was a specialist. Like Hans Holbein, he worked both in miniature and in large in oil.
In France, it was not until the 1770s that a notable school of portrait miniaturists emerged. It was only then that they were able to rival English ones, such as Richard Cosway (1742-1821) and John Smart (1742-1811). Like Cosway and Smart, these French artists worked in watercolour on ivory.
In the early 18th century ivory began to replace vellum as a support for miniature painting. It was introduced by Rosalba Carriera (1675-1757), a Venetian artist. Its use developed in distinct ways in England and on the Continent. In continental Europe, and especially in France, Carriera's method of using opaque 'gouache' (watercolour mixed with white) was influential. She exploited the ivory primarily by leaving the face transparent. In contrast, by the 1770s artists of the English School tended towards transparent pigments. They very rarely used gouache.
This miniature is by Pierre Adolphe Hall (1739-93), who was born in Sweden. He studied painting in Berlin in 1756, in Hamburg in 1758, and in Stockholm from 1760 to 1766. By 1769 he was in Paris, where he became an associate of the Academy. Although he was Swedish by origin, Hall is considered to be the greatest French miniaturist of the second half of the 18th century.
In France, it was not until the 1770s that a notable school of portrait miniaturists emerged. It was only then that they were able to rival English ones, such as Richard Cosway (1742-1821) and John Smart (1742-1811). Like Cosway and Smart, these French artists worked in watercolour on ivory.
In the early 18th century ivory began to replace vellum as a support for miniature painting. It was introduced by Rosalba Carriera (1675-1757), a Venetian artist. Its use developed in distinct ways in England and on the Continent. In continental Europe, and especially in France, Carriera's method of using opaque 'gouache' (watercolour mixed with white) was influential. She exploited the ivory primarily by leaving the face transparent. In contrast, by the 1770s artists of the English School tended towards transparent pigments. They very rarely used gouache.
This miniature is by Pierre Adolphe Hall (1739-93), who was born in Sweden. He studied painting in Berlin in 1756, in Hamburg in 1758, and in Stockholm from 1760 to 1766. By 1769 he was in Paris, where he became an associate of the Academy. Although he was Swedish by origin, Hall is considered to be the greatest French miniaturist of the second half of the 18th century.
Object details
Categories | |
Object type | |
Titles |
|
Materials and techniques | Watercolour on ivory |
Brief description | Portrait miniature of an unknown lady, watercolour on ivory, painted by Pierre Adolphe Hall, French, 1770-1779 |
Physical description | Portrait miniature of an unknown lady, watercolour on ivory, oval in shape, surrounded by a gold fitting with a motif of intertwined berries and leaves encircling the portrait. The lady is depicted quarter-length, wearing a pale dress with green ribbons at the shoulders and a green bow on the front. She wears beads in her hair resembling dark pearls and a flower garland. Her eyes look off to her left hand side but she is portrayed from the front. Signed by the artist. |
Dimensions |
|
Marks and inscriptions | Signed 'Hall'. |
Credit line | Given by Mr F. N. and Mrs O. S. Ashcroft |
Subjects depicted | |
Summary | Miniature painting originally referred to the art of painting in watercolour on vellum (fine animal skin). It developed in the early 16th century out of the tradition of illuminating manuscripts (hand-written books). In England, miniature was predominantly a portrait art. It was practised by specialist miniature painters, such as Nicholas Hilliard (1547-1619). On the Continent, miniature painting as a portrait art had a few great practitioners, such as the French painter Jean Clouet (1516?-1572). But not even Clouet was a specialist. Like Hans Holbein, he worked both in miniature and in large in oil. In France, it was not until the 1770s that a notable school of portrait miniaturists emerged. It was only then that they were able to rival English ones, such as Richard Cosway (1742-1821) and John Smart (1742-1811). Like Cosway and Smart, these French artists worked in watercolour on ivory. In the early 18th century ivory began to replace vellum as a support for miniature painting. It was introduced by Rosalba Carriera (1675-1757), a Venetian artist. Its use developed in distinct ways in England and on the Continent. In continental Europe, and especially in France, Carriera's method of using opaque 'gouache' (watercolour mixed with white) was influential. She exploited the ivory primarily by leaving the face transparent. In contrast, by the 1770s artists of the English School tended towards transparent pigments. They very rarely used gouache. This miniature is by Pierre Adolphe Hall (1739-93), who was born in Sweden. He studied painting in Berlin in 1756, in Hamburg in 1758, and in Stockholm from 1760 to 1766. By 1769 he was in Paris, where he became an associate of the Academy. Although he was Swedish by origin, Hall is considered to be the greatest French miniaturist of the second half of the 18th century. |
Bibliographic reference | Victoria & Albert Museum Department of Engraving Illustration and Design & Department of Paintings, Accessions 1946. London: Published under the Authority of the Ministry of Education, 1949. |
Collection | |
Accession number | P.6-1946 |
About this object record
Explore the Collections contains over a million catalogue records, and over half a million images. It is a working database that includes information compiled over the life of the museum. Some of our records may contain offensive and discriminatory language, or reflect outdated ideas, practice and analysis. We are committed to addressing these issues, and to review and update our records accordingly.
You can write to us to suggest improvements to the record.
Suggest feedback
You can write to us to suggest improvements to the record.
Suggest feedback
Record created | July 11, 2003 |
Record URL |
Download as: JSONIIIF Manifest