18th Century English Oil Painting of a Family and Children ' The Music Room"

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About the Item

Period Portraits are thrilled to offer this this fine, rare and highly detailed group portrait ‘The Music Room’ which depicts a handsome, yet beguilingly staged, domestic interior of a prosperous family around the year 1785. This painting is typical of the so-called ‘conversation piece’, a genre of painting that featured groups of figures in small format that rose to prominence in British Art during the eighteenth century. Taking many cues from Dutch and French painting, the conversation piece became a particular favourite amongst British painters such as William Hogarth, and was later refined by the likes of Johan Zoffany who produced several such works in this genre for the family of King George III. Such works, as scholars such as Kate Retford as argued, related mostly strongly to concepts of ‘conduct’ and ‘community’, often focusing on one’s behaviour and the company one kept. In this case, we are presented with an entire family, consisting of a father with his four sons and one daughter. All of the minute details relating to this interior are treated with a remarkable touch, including the finely piled carpets, gilded mirror sconces, rococo fireplace and costume. Although it is possible that this scene depicted a true interior, it is clear that the picture’s purpose is too promote several ideas relating to the virtues of the painting’s sitters. Most touchingly, this painting contains an image of the since deceased mother of these children, seen hanging in an oval above the fireplace on the back wall. In an age where childbirth presented great risk on the health of women, the intention of this painting is to both celebrate both the contributions of the living and the dead. The curious detail of a casual deposited blue ribbonned hat hanging from the light fixtures, presumably belonging to the lady in the oval, shows that her presence is still recognised and appreciated in this scene. The melancholic air of this painting is echoed in a similar work by the American born artist John Greenwood (1727-1792), kept in the Yale Centre for British Art. This canvas depicting John Richard Comyns of Hylands, Essex, shows a similar scene of a father with his daughters in a more stark domestic setting. In this case, it too has been emphasised that the absence of the children’s mother is a touching signal that she too no longer inhabited the mortal world. As in the painting in question, an abandoned wide brimmed hat on the keyboard instrument might acknowledge its absent owner, perhaps. A comparison of these two paintings is evidence of the sentimental and melancholic nature conversation pieces could achieve, and are relatively rare compared with the many more formulaic examples that have survives from this period. As in Greenwood’s Yale picture, music making is a particularly important theme in this painting. The two eldest children, daughter and son, play both a violin and keyboard instrument respectively. As way of contrast, the three other younger sons, all sporting similar wide open collars made popular during the 1780s, are involved in their own childish merry making. The youngest son, in his father’s lap, seems to be depicted with a small sketch book or note pad offering scraps some of which have been humorously discarded on the floor. The other two boys are depicted at play, one with his cup and ball game and another with a similar string game in the form of a windmill. These indoor amusements are contrasted with the more mature and refined pursuits of music played by their older siblings. The work of scholar Richard Leppert, who has made significant contributions on subject of music in eighteenth century domestic paintings, identified several particular themes in such scenes. Music making, apart from its obvious associations with harmony, helped support the notion of the “home as the self-perceived foundation for the values upon which bourgeois society depended.” Qualities of education, perseverance and dedication, all requirements of learning to play such instruments, is what is being emphasised in this very scene. The omission of a caged bird near to the young keyboard player, which Leppert remarked as almost always accompanying female musicians in such paintings as a device recognising the plight of such talented souls, is also noteworthy. Although we cannot discount that this picture was created on the continent, its overall gaiety and sense of ease tends to suggest a British painter. Other painters who worked in this format during this period included Charles Gill, Hawes of Doncaster and William Williams. This painting is ready to hang in a fine swept, carved and composition gilt frame. Further images upon request Worldwide shipping available PP00083

Creation Year:
1785
Dimensions:
Height: 39 in (99.06 cm)Width: 47 in (119.38 cm)Depth: 3 in (7.62 cm)
Medium:
Oil
Period:
1780-1789
Condition:
Gallery Location:
London/Yorkshire, GB
Reference Number:
Seller: PP000831stDibs: LU58936110422

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