Miniature
1800-1805 (made)
Artist/Maker | |
Place of origin |
This technically impressive miniature, one of Kanz's largest enamels, was also one of his last. This prolific artist is known for his depictions of voluptuous women which were probably not actual portraits of real people.
The practice of painting portrait miniatures in enamels developed out of the decorative work of goldsmiths and watchmakers in the French cities of Blois, Châteaudun and Paris. Portrait plaques had been made in the enamelling workshops of Limoges in central France during the 16th century, but in the 1630s, Jean Toutin adapted existing techniques to make the subtle colouring and delicate detail of enamel miniatures possible. Small objects like watches or snuffboxes were ideally suited to this technique and many were decorated with portraits and mythological or allegorical scenes. Artists throughout Europe continually refined their approaches to painting enamel portraits. While 17th century enamellers used a very fine stipple to create light and shade in their miniatures, artists in the 18th century began to use larger brushstrokes for a more fluid effect.
Sir Arthur Gilbert and his wife Rosalinde formed one of the world's great decorative art collections, including silver, mosaics, enamelled portrait miniatures and gold boxes. Arthur Gilbert donated his extraordinary collection to Britain in 1996.
The practice of painting portrait miniatures in enamels developed out of the decorative work of goldsmiths and watchmakers in the French cities of Blois, Châteaudun and Paris. Portrait plaques had been made in the enamelling workshops of Limoges in central France during the 16th century, but in the 1630s, Jean Toutin adapted existing techniques to make the subtle colouring and delicate detail of enamel miniatures possible. Small objects like watches or snuffboxes were ideally suited to this technique and many were decorated with portraits and mythological or allegorical scenes. Artists throughout Europe continually refined their approaches to painting enamel portraits. While 17th century enamellers used a very fine stipple to create light and shade in their miniatures, artists in the 18th century began to use larger brushstrokes for a more fluid effect.
Sir Arthur Gilbert and his wife Rosalinde formed one of the world's great decorative art collections, including silver, mosaics, enamelled portrait miniatures and gold boxes. Arthur Gilbert donated his extraordinary collection to Britain in 1996.
Object details
Categories | |
Object type | |
Materials and techniques | Enamel on copper, engine-turned gold rim frame |
Brief description | Enamel miniature on copper, in an engine-turned gold rim frame, Paris, 1800-1805, by Carl Christian Kanz. |
Physical description | Oval portrait miniature depicting a young lady with dark curly hair wearing a plum coloured shawl, a white scarf and veil and a white, gold-trimmed dress revealing her breasts. The miniature is enamel on copper and the frame is of engine-turned gold. |
Dimensions |
|
Marks and inscriptions | Signed 'Kanz' (On the front) |
Gallery label | Young woman
1800–5
This technically impressive miniature, one of Kanz’s
largest enamels, was one of his last. This prolific artist
is known for his depictions of voluptuous women
which were probably not actual portraits of real people.
Paris, France; Carl Christian Kanz (1758–after 1818)
Enamel on copper in engine-turned gold-rim frame
Signed on lower right ‘Kanz’
Museum no. Loan:Gilbert.250-2008(2009) |
Credit line | The Rosalinde and Arthur Gilbert Collection on loan to the Victoria and Albert Museum, London |
Object history | Provenance: D.S. Lavender, London, 01/10/1980. |
Subject depicted | |
Summary | This technically impressive miniature, one of Kanz's largest enamels, was also one of his last. This prolific artist is known for his depictions of voluptuous women which were probably not actual portraits of real people. The practice of painting portrait miniatures in enamels developed out of the decorative work of goldsmiths and watchmakers in the French cities of Blois, Châteaudun and Paris. Portrait plaques had been made in the enamelling workshops of Limoges in central France during the 16th century, but in the 1630s, Jean Toutin adapted existing techniques to make the subtle colouring and delicate detail of enamel miniatures possible. Small objects like watches or snuffboxes were ideally suited to this technique and many were decorated with portraits and mythological or allegorical scenes. Artists throughout Europe continually refined their approaches to painting enamel portraits. While 17th century enamellers used a very fine stipple to create light and shade in their miniatures, artists in the 18th century began to use larger brushstrokes for a more fluid effect. Sir Arthur Gilbert and his wife Rosalinde formed one of the world's great decorative art collections, including silver, mosaics, enamelled portrait miniatures and gold boxes. Arthur Gilbert donated his extraordinary collection to Britain in 1996. |
Bibliographic reference | Coffin, Sarah and Bodo Hofstetter. Portrait Miniatures in Enamel. London: Philip Wilson Publishers Ltd. in association with the Gilbert Collection, 2000. 168 p., ill. Cat. no. 33, pp. 80-81. ISBN 0856675334. |
Other numbers |
|
Collection | |
Accession number | LOAN:GILBERT.250-2008 |
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 | June 26, 2008 |
Record URL |
Download as: JSONIIIF Manifest