I recently reserved accommodations for the 2024 Annual Meeting of the Jane Austen Society of North America to be held next October in Cleveland, Ohio. I am looking forward especially to viewing a painting I have long yearned to see: the portrait of Lady Manners by Sir Thomas Lawrence (1769-1830), above, on display at the Cleveland Museum of Art.
But on the museum's website, we learn that Lady Manners rejected her portrait by Lawrence. Here is the museum's description:
"The Irish poet Lady Manners rejected as 'unflattering' this portrait representing her as the goddess Juno, symbolized here by the peacock. Thomas Lawrence exhibited the painting at the Royal Academy in 1794 with the label 'to be disposed of [sold],' but it was still in the artist’s collection when he died. Though it offended Lady Manners, the painting displays all the hallmarks of Lawrence’s flamboyant style:dazzling, fluid brushwork and an innovative use of unconventional colors that helped secure his role as the most fashionable portrait painter in turn-of-the-century Britain."
But on the museum's website, we learn that Lady Manners rejected her portrait by Lawrence. Here is the museum's description:
"The Irish poet Lady Manners rejected as 'unflattering' this portrait representing her as the goddess Juno, symbolized here by the peacock. Thomas Lawrence exhibited the painting at the Royal Academy in 1794 with the label 'to be disposed of [sold],' but it was still in the artist’s collection when he died. Though it offended Lady Manners, the painting displays all the hallmarks of Lawrence’s flamboyant style:dazzling, fluid brushwork and an innovative use of unconventional colors that helped secure his role as the most fashionable portrait painter in turn-of-the-century Britain."
Above, the British Gallery in the Cleveland Museum of Art.
Below, self-portraits by Thomas Lawrence, left, under age 20, from c.1787; right, at age 55, in 1825, in the collection of the Royal Academy. Known as a child prodigy, once he went to London, he painted important persons to wide acclaim, and eventually became the second president of the RA and was knighted by the Prince Regent. Please click on the small pictures for full versions.
Below, self-portraits by Thomas Lawrence, left, under age 20, from c.1787; right, at age 55, in 1825, in the collection of the Royal Academy. Known as a child prodigy, once he went to London, he painted important persons to wide acclaim, and eventually became the second president of the RA and was knighted by the Prince Regent. Please click on the small pictures for full versions.
Above, left, Georgiana, Duchess of Devonshire, 1782; right, Queen Charlotte, 1789., National Gallery.
Below, the portrait known as Pinkie, Sarah Goodin Barrett Moulton, c.1794, Huntington Library; Mary Margaret Stanley Egerton, Countess of Wilton, (1801-58), c.1829, Heaton Park.
Below, the portrait known as Pinkie, Sarah Goodin Barrett Moulton, c.1794, Huntington Library; Mary Margaret Stanley Egerton, Countess of Wilton, (1801-58), c.1829, Heaton Park.
Above, left, Emily Anderson as Little Red Riding Hood, c. 1821, Huntington Library; right, Elizabeth Farren, later Countess of Derby, 1791, Metropolitan Museum of Art.
Looking at these portraits we can see that Lawrence usually portrayed his ladies in flattering poses, often in glamorous array and/or in well-known costumes. But Lady Manners did not care for Lawrence's portrait, saying she found it unflattering. Was it her rather moon-faced straight-on stare? Or perhaps her posture, leaning forward on the plinth?
Below left, by Lawrence, Mrs. Sarah Kemble Siddons (1751-1831) Tate Britain C. 1804; right, Sally Siddons, Sarah's daughter, with whom Lawrence was rumored to have had an affair.
Looking at these portraits we can see that Lawrence usually portrayed his ladies in flattering poses, often in glamorous array and/or in well-known costumes. But Lady Manners did not care for Lawrence's portrait, saying she found it unflattering. Was it her rather moon-faced straight-on stare? Or perhaps her posture, leaning forward on the plinth?
Below left, by Lawrence, Mrs. Sarah Kemble Siddons (1751-1831) Tate Britain C. 1804; right, Sally Siddons, Sarah's daughter, with whom Lawrence was rumored to have had an affair.
In addition to fame for portraying beautiful women in flattering portraits, Sir Thomas was celebrated for his portraits of the leading men of his era. He was assigned by the Prince Regent to paint all the participants in the coalitions to defeat Napoleon, including heads of state, leading politicians, and generals. These portraits hang in the Waterloo Chamber in Windsor Castle, below.
Above, the victorious Duke of Wellington (1769-1852) painted in 1819, left; and right, Pope Pius VII (1742-1823), also painted in 1819, perhaps the most celebrated characterization of the collection. The Royal Collection Trust writes, "With dazzling surface effects Lawrence portrays the Pope, a symbol in his time for the victory of peace over war, as a spiritual ruler with temporal power and all the trappings of authority."
Looking once more at the portrait of Lady Manners (far right above), perhaps we should concentrate not on her face or strange position, but on the excellence of the hands, gloves, and rose, or the magnificence of the Peacock, the latter indicating the pose portrays the goddess Juno.
Is that a little better, Lady Manners? Regardless of your opinions, I truly look forward to standing before you and enjoying your image.
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