International studio . JANE MYDDLETON (1645-1692). BY SAMUEL COOPER. A GENTLEMAN UNKNOWN. PAINTED IN OIL BY AN UNKNOWN ARTIST. ELIZABETH PERCY. COUNTESS OF ESSEXl?) (l 636-1 71 £ ARTIST UNKNOWN. FROM THE MINIATURES IN THE COLLECTION OFlEARL VICTORIA AND ALBERT MUSEUM. NOW ON VIEW AT The Beauehamp Miniatures at the Vie tori a and Albert Museum but in certain hands the art of miniature hasthe unpleasant look of an overblown Anne Rich, Lady Barrington, probably byDixon, the colour is hot and the blues metallicin their affected brilliance. But a signed maleportrait by that
International studio . JANE MYDDLETON (1645-1692). BY SAMUEL COOPER. A GENTLEMAN UNKNOWN. PAINTED IN OIL BY AN UNKNOWN ARTIST. ELIZABETH PERCY. COUNTESS OF ESSEXl?) (l 636-1 71 £ ARTIST UNKNOWN. FROM THE MINIATURES IN THE COLLECTION OFlEARL VICTORIA AND ALBERT MUSEUM. NOW ON VIEW AT The Beauehamp Miniatures at the Vie tori a and Albert Museum but in certain hands the art of miniature hasthe unpleasant look of an overblown Anne Rich, Lady Barrington, probably byDixon, the colour is hot and the blues metallicin their affected brilliance. But a signed maleportrait by that hand, of Sir Henry Blount,shows that Dixon could analyze male characterin masterly fashion. He may have taken thecynical Restoration view that women had nocharacter. The Blount portrait shows thebrown surface for complexion tint that wasnoticed in the work of Flatman. A miniaturehere by Charles Beale, perhaps of Ursula Stawell,. ANNE CARR, DUCHESS OF BEDFORD (1615—1€BY RICHARD GIBSON lines of drawing too emphatic to be ofeffect. But Flatman can give his own view ofhis sitter, while Dixon, flourishing 1667-1708,takes the conventions of Lely and debases them,sometimes exaggerating the type in femaleportraiture to a repellent degree. At thisperiod the Cooper influence is still paramount,
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Keywords: ., bookcentury180, booksubjectart, booksubjectdecorationandornament
