Portrait Of An Elegant 18th Century Englishwoman By Thomas Hudson (1701-1779)

Period Portraits are delighted that conservation has revealed this fine portrait of elegant 18th century beauty, an original work by British painter Thomas Hudson (1701-1779). This painting is a high quality example of Hudson's work. The brushstrokes visible on the face of the model are the most characteristic of the artist. This includes the horizontal lines for the eyes and mouth, which contrast sharply with the obvious verticals in the nose, cheeks and the edge of the face. Fortunately, and unlike many other examples, these details have been beautifully preserved. The drapery is just as fine. The contrast between the thick white impasto and the smooth blue velvet of his coat testifies to the quality of the painting. A particularly unusual feature of this portrait is the sitter's pose. It is undeniable that the unusual dynamism of the painting is found in the crossed arms of the Lady. Despite the passage of two hundred and fifty years, the open character of this lady makes a strong impression. This further reinforced by the sumptuous red jewelry, diamonds and pearls that adorn her dress. The pearl necklace, which cascades from her hair down her chest, is a clever artistic trick to allow our eyes to move vertically across the canvas. It should be noted that these clothing accessories and jewelry greatly influenced the early portraits of Joseph Wright of Derby who studied with Hudson. Thomas Hudson (1701-1779) During the 1740s Hudson became one of Britain's leading portrait painters. He had trained in his youth with his father-in-law, the theorist and painter Jonathan Richardson, from whom he absorbed and developed the audacious baroque portraiture. The earliest records of his work date from the late 1720s, when the artist began dividing his time between London and the West Country. Like many painters of the 17th and 18th centuries, he was often drawn to Bath to paint the seated wealthy that this spa town attracted. His studio in London became a hive of activity for wealthy patrons and budding students. Among his pupils were Joshua Reynolds, Joseph Wright of Derby and John Hamilton Mortimer. Hudson cast his spell with other budding artists from the British School and regularly met Hogarth, Hayman, Ramsay and Rysbrack at the Old Slaughter's Coffee House in St Martin's Lane. He collaborated with the painter Joseph van Aken, who painted the drapery for many of his finest works. This collaboration shows how great the demand for the artist's brush had become. Returning to the crossed arms, this same pose was notably employed in some early images of Joshua Reynolds, one of Hudson's most famous students. Reynolds' portraits of Miss Kitty Fisher (1759) at Petworth and Elizabeth Countess of Berkley (1757) show both women in this same physical arrangement. It is possible that the composition originated in an Old Master painting or drawing, of which Hudson was an avid collector. The Dutch school, including Rembrandt's followers, often showed figures seated on window sills with their arms crossed, looking outward in this manner. Hudson is most famous for painting his sitter in Van Dyck dress and compositions borrowed from this 17th-century artist. Although Reynolds dared to paint his sitter's hands in the aforementioned examples, a difficult body part that painters have always struggled with, Hudson carefully concealed them under his velvet cape. One wonders whether this painting, which may well have been completed in the 1750s, may have represented the growing competition between the two artists during that decade once Reynolds had left Hudson's studio in 1743 and had returned from his Grand Tour in 1752. Likewise, could Hudson have painted this earlier, and thus influenced the young Reynolds? We can only speculate. Although Hudson has come to portray the period just before the meteoric rise of Reynolds and Gainsborough, his portraits are quintessentially British. He captured the likenesses of many aristocrats, military and cultural figures of his time. This includes capturing the most enduring image of composer George Frederic Handel. Compared to some of the less inspired paintings given to him, this painting remains very dynamic and instantly grabs attention. This beautiful painting is in an excellent state of preservation and is offered in a carved and gilded Rococo style frame from the 18th century. High resolution images on request. Worldwide shipping available Canvas: 25" x 30" / 64cm x 77cm. Frame: 34" x 39" / 87cm x 99cm