Joseph Highmore | |
|---|---|
 Self-Portrait ca. 1746,National Gallery of Victoria | |
| Born | (1692-06-13)13 June 1692 London, England |
| Died | 3 March 1780(1780-03-03) (aged 87) Canterbury, Kent, England |
| Known for | Painting |
| Spouse | |
Joseph Highmore (13 June 1692 – 3 March 1780) was an English painter ofportraits,conversation pieces andhistory subjects,illustrator and writer. After retiring from his career as a painter at the age of 70, he published art historical and critical articles.[1]
Highmore was born on 13 June 1692, inLondon, the third son of Edward Highmore, acoal merchant, and nephew ofThomas Highmore,Serjeant Painter toWilliam III. He displayed early his ability in art but was discouraged by his family from taking up art professionally, and began a legal training instead. At the ending of aclerkship at the age of 17 (during which he continued to attend a drawing academy run byGodfrey Kneller and lectures on anatomy byWilliam Cheselden[2]), he abandoned his law career and started to work as a portrait painter in London.[3] From 1720, he attended the St Martin's Lane Academy, where he was exposed to contemporary French art.[1]
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On the revival of theOrder of the Bath in 1725, he was selected to paint the knights in full costume. In 1732, he visited theLow Countries to study Rubens and van Dyck's works. Two years later he visitedParis where he studied works in public and private collections. In the next few years he received patronage from the royal family, but during the 1740s he began to cater more to middle-class clients who appreciated his ability to capture a likeness in a single sitting and to create an informal composition. In 1762, Highmore sold the contents of his studio and retired to Canterbury, where he lived with his daughter and son-in-law. He subsequently published art historical and critical articles, including on Rubens' ceiling decorations in theBanqueting House, Whitehall, London, colour theory andBrook Taylor's theory of perspective.[1]
Highmore died on 3 March 1780, aged 87, in Canterbury.[3] He was buried in sheep's wool (to comply with a17th-century statute to encourage the wool trade) in the fifth bay of the south aisle ofCanterbury Cathedral.[3]
His wifeSusanna Highmore (née Hiller) was a poet, though little of her work was published. His sonAnthony Highmore (1719–99) was an artist, one of whose 15 children,Anthony Highmore Jnr. (1758–1829), became a writer on legal affairs and a social activist.[3]
Joseph Highmore: 1692:1780 volumes I and II a PhD dissertation, 1975, by Alison Shepherd Lewis is at Harvard University, Fogg Museum, stack number HU 90 10796B
He painted portraits, conversation pieces and history subjects. He worked for artistocratic clients as well as middle-class patrons.[1] His ability to give a group portrait the informal outlook of aconversation piece is demonstrated in hisMr Oldham and his Guests (National Gallery, London). It shows Mr Oldham, who appears to have just arrived, standing at the extreme left of the painting, with his arms folded over the top of a chair. He is looking with an expression of barely concealed amusement at his guests who are already seated at a table.[4] Highmore also made portraits of his children. His portrait of his daughter Susanna (c.1740,National Gallery of Victoria) is remarkable in the richness of the visual details and the confident glance which the sitter casts towards the viewer.[5] For his portraits, he employed the specialistdrapery painterJoseph Van Aken to paint the dresses and costumes of his sitters.[6]
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Highmore painted works illustrating biblical subjects, historical painting being a genre which Highmore had studied during his visit to Paris.[3] One such biblical painting isHagar and Ishmael, which Highmore donated to theFoundling Hospital for the purpose of decorating its Court Room.[3] The painting is now part of the Foundling Hospital art collection atThe Foundling Museum in London.[3][7] During the 1740s, Highmore had become connected with the new Foundling Hospital which aimed to support desperate and abused women. His involvement caused him to engage with issues relating to women's vulnerability to sexual assault and society's unwillingness to support them. He expressed this engagement in his workThe Angel of Mercy (c. 1746,Yale Center for British Art). It depicts a desperate mother about to kill her baby, when her hand is stayed by an angel who points to the Foundling Hospital shown in the background as the alternative to the murder of her child.[8]
In 1744, Highmore painteda series of 12 paintings after scenes fromSamuel Richardson'sepistolary novelPamela, or Virtue Rewarded.[3] The novel was first published in 1740–1 and recounts the virtuous lady's maid Pamela Andrews' relationship with an aristocratic seducer whom she repeatedly rebuffs, then reforms and finally marries.[9] Highmore's paintings were based on the novel Pamela but were not conceived as book illustrations, although they were later engraved byAntoine Benoist andLouis Truchy. They were rather an attempt to recount the whole story in successive and connected images. Highmore's pictures were conversation pieces which focused on the characters.[10]
As an author, he was best known for the worksCritical Examination of Reubens' two Paintings in the Banqueting House andObservations on Bodwell's Pamphlet against Christianity.[3]
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This article incorporates text from a publication now in thepublic domain: Cust, Lionel Henry (1891). "Highmore, Joseph". InStephen, Leslie;Lee, Sidney (eds.).Dictionary of National Biography. Vol. 26. London:Smith, Elder & Co.
Media related toJoseph Highmore at Wikimedia Commons
