|Born||13 October 1713|
Edinburgh, Midlothian, Scotland
|Died||10 August 1784 70) (aged|
Dover, Kent, England
|Education||London (1733–36, under Hans Huyssing, and at the St. Martin's Lane Academy); Rome (1736–9, under Francesco Solimena and Francesco Fernandi).|
|Patron(s)|| Duncan Forbes,|
Duke of Bridgewater,
Allan Ramsay (13 October 1713 –10 August 1784) was a prominent Scottish portrait-painter.
Ramsay was born in Edinburgh, Scotland, the eldest son of Allan Ramsay, poet and author of The Gentle Shepherd . From the age of twenty he studied in London under the Swedish painter Hans Hysing, and at the St. Martin's Lane Academy; leaving in 1736 for Rome and Naples, where he worked for three years under Francesco Solimena and Imperiali (Francesco Fernandi).
On his return in 1738 to the British Isles, he first settled in Edinburgh, attracting attention by his head of Duncan Forbes of Culloden and his full-length portrait of the Duke of Argyll, later used on Royal Bank of Scotland banknotes. He later moved to London, where he was employed by the Duke of Bridgewater.
His pleasant manners and varied culture, not less than his artistic skill, contributed to render him popular.His only serious competitor was Thomas Hudson, with whom he shared a drapery painter, Joseph Van Aken.
In 1739 he married his first wife, Anne Bayne, the daughter of Alexander Bayne of Rires (c. 1684–1737), and Mary Carstairs (1695?–1759). Anne died on 4 February 1743, giving birth to their 3rd child; none of their children reached adulthood.
One of his drawing pupils was Margaret Lindsay, eldest daughter of Sir Alexander Lindsay of Evelick and Amelia Murray (granddaughter to David Murray, 5th Viscount of Stormont and sister to the naval officer John Lindsay). He later eloped with her and on 1 March 1752 they married in the Canongate Kirk, Edinburgh; her father never forgave her for marrying an artist. Ramsay already had to maintain a daughter from his previous marriage and his two surviving sisters, but told Sir Alexander that he could provide Margaret with an annual income of £100. He said it would increase ‘as my affairs increase, and I thank God, they are in a way of increasing’ and that his only motive for the marriage was ‘my love for your Daughter, who, I am sensible, is entitled to much more than ever I shall have to bestow upon her’.Three children survived from their long and happy marriage, Amelia (1755–1813), Charlotte (1758–1818?), and John (1768–1845).
Ramsay and his new wife spent 1754 to 1757 together in Italy, going to Rome, Florence, Naples and Tivoli, researching, painting and drawing old masters, antiquities and archaeological sites. He earned income painting Grand Tourists' portraits. This and other trips to Italy involved more literary and antiquarian research than art. After their return, Ramsay in 1761 was appointed to succeed John Shackelton as Principal Painter in Ordinary to George III, beating Hudson to the post.The king commissioned so many royal portraits to be given to ambassadors and colonial governors, that Ramsay used the services of numerous assistants—of whom David Martin and Philip Reinagle are the best known.
He gave up painting in about 1770 to concentrate on literary pursuits. His health was shattered by an accidental dislocation of the right arm and his second wife's death in 1782. With unflinching pertinacity, he struggled until he had completed a likeness of the king upon which he was engaged at the time, and then started for his beloved Italy. He left a series of 50 royal portraits to be completed by his assistant Reinagle. For several years he lingered in the south, his constitution finally broken. He died at Dover on 10 August 1784.
Ramsay was a friend of Samuel Johnson's, who said of him, 'I love Ramsay. You will not find a man in whose conversation there is more instruction, more information, and more elegance, than in Ramsay's.'
Among his most satisfactory productions are some of his earlier ones, such as the full-length of the Duke of Argyll, and the numerous bust-portraits of Scottish gentlemen and their ladies which he executed before settling in London. They are full of both grace and individuality; the features show excellent draughtsmanship; and the flesh-painting is firm and sound in method, though frequently tending a little to hardness and opacity. His full-length of Lady Mary Coke is remarkable for the skill and delicacy with which the white satin drapery is managed; while the portrait of his brown-eyed second wife Margaret, in the Scottish National Gallery, is described as having a sweetness and tenderness. The portrait of his wife also shows the influence of French art, which Ramsay incorporated into his work. The large collection of his sketches in the possession of the Royal Scottish Academy and the Board of Trustees, Edinburgh also show this French elegance and soft colours.
In a documentary broadcast by the BBC in February 2014, Ramsay was shown to be the artist who painted the lost portrait of Charles Edward Stuart in 1745, completed on the verge of his invasion of England.
Ramsay has paintings in the collection of a few British institutions including the National Gallery in London, Sheffield, Derby Art Gallery (attributed), Glasgow Museum and Newstead Abbey.
In 2016 a portrait of Richard Mead (King George II’s physician) by Allan Ramsay was discovered by Bendor Grosvenor (using the Art UK website) as part of the British BBC4 television programme Britain's Lost Masterpieces ; conservation treatment was carried out by Simon Rollo Gillespie to repair the torn canvas and remove layers of discoloured varnishes.
The examples and perspective in this article may not include all significant viewpoints .(January 2020)
According to Mario de Valdes y Cocom in 2009 on an edition of PBS Frontline, in several paintings of Queen Charlotte, Ramsay deliberately emphasised "mulatto features" which the queen supposedly inherited via descent from a 13th-century Moorish ancestor.Valdes suggests that copies of these paintings were sent to the colonies to be used by abolitionists as a de facto support for their cause.
Other historians question whether the 13th-century ancestor, referred to in various places as a 'Moor' and Berber, was black African. In any event, they contend that the connection, nine and 15 generations removed, was too distant to consider Charlotte 'black' in any cultural way, as her other ancestors were all European.
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Alexander Nasmyth was a Scottish portrait and landscape painter, a pupil of Allan Ramsay.
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Margaret Lindsay was a member of the Scottish Clan Murray and the eldest daughter of Sir Alexander Lindsay of Evelick. She was a member of the Clan Lindsay, which joined the '15 Jacobite rising. In 1752, she married the artist Allan Ramsay, later becoming the subject of several of his works.
David Martin was a Scottish painter and engraver. Born in Fife, he studied in Italy and England, before gaining a reputation as a portrait painter.
Philip Reinagle was an English painter of animals, landscapes, and botanical scenes. The son of a Hungarian musician living in Edinburgh, Reinagle came to London in 1763 and after serving an apprenticeship, later became a member of the Royal Academy.
Ramsay Richard Reinagle was an English portrait, landscape, and animal painter, and son of Philip Reinagle.
John Partridge was a British artist and portrait painter. Named 'portrait painter-extraordinary' to Queen Victoria, his pictures depict many of the notable figures of his time.
The title of Principal Painter in Ordinary to the King or Queen of England or, later, Great Britain, was awarded to a number of artists, nearly all mainly portraitists. It was different from the role of Serjeant Painter, and similar to the earlier role of "King's Painter". Other painters, for example Nicholas Hilliard had similar roles with different titles. "Principal Painter in Ordinary", first used for Sir Anthony Van Dyck, became settled as the usual title with John Riley in 1689.
Art in early modern Scotland includes all forms of artistic production within the modern borders of Scotland, between the adoption of the Renaissance in the early sixteenth century to the beginnings of the Enlightenment in the mid-eighteenth century.
Scottish art in the eighteenth century is the body of visual art made in Scotland, by Scots, or about Scottish subjects, in the eighteenth century. This period saw development of professionalisation, with art academies were established in Edinburgh and Glasgow. Art was increasingly influenced by Neoclassicism, the Enlightenment and towards the end of the century by Romanticism, with Italy becoming a major centre of Scottish art.
Portrait painting in Scotland includes all forms of painted portraiture in Scotland, from its beginnings in the early sixteenth century until the present day. The origins of the tradition of portrait painting in Scotland are in the Renaissance, particularly through contacts with the Netherlands. The first portrait of a named person that survives is that of Archbishop William Elphinstone, probably painted by a Scottish artist using Flemish techniques around 1505. Around the same period Scottish monarchs turned to the recording of royal likenesses in panel portraits, painted in oils on wood. The tradition of royal portrait painting in Scotland was probably disrupted by the minorities and regencies it underwent for much of the sixteenth century. It began to flourish after the Reformation, with paintings of royal figures and nobles by Netherlands artists Hans Eworth, Arnold Bronckorst and Adrian Vanson. A specific type of Scottish picture from this era was the "vendetta portrait", designed to keep alive the memory of an atrocity. The Union of Crowns in 1603 removed a major source of artistic patronage in Scotland as James VI and his court moved to London. The result has been seen as a shift "from crown to castle", as the nobility and local lairds became the major sources of patronage.
Anne Forbes (1745–1834) was a Scottish portrait painter, educated in Rome, who worked in London and later in Edinburgh, where she was Portrait Painter to the Society of Antiquaries of Scotland. Although her career in London was cut short by illness, she was one of the first Scottish women artists to make a career from painting, and according to Colin Russell "her importance remains in her struggle against gender prejudice".
... On his return, being introduced to the Prince of Wales, afterward George III., he rapidly rose into favor, and in 1767 was appointed principal painter to the king.
... On Shackleton's death in 1767 Ramsay succeeded him in the full office of Principal Painter in Ordinary, which, before the ...
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