Ritratto di Anna Walmesley, 1795. Figli di un orologiaio, Nathaniel Plimer e il suo giovane fratello Andrea inizialmente istruito nella loro padre della professione, sebbene essi crebbe inquieto con questo commercio e scappò a vivere con gli zingari per due anni. Dal 1781, sono stati insieme a Londra e determinata alla pratica tecnica. Entrambe le prese residenza con artisti affermati. Nathaniel ha lavorato come un servo di Henry enamelist osso, e Andrea è diventato il servizio per il ritratto in miniatura e pittore Richard Cosway. Cosway scoperto Andrew la copia di uno dei suoi miniature e lo ha presentato a paintin in miniatura

• Collaboratore: Heritage Image Partnership Ltd / Alamy Foto Stock
• ID dell’immagine: 2A53064
• Dimensioni dei file: 137,3 MB (2,9 MB Download compresso)
• Liberatorie: Modello - no | Proprietà - no
• Dimensioni: 6000 x 8000 px | 50,8 x 67,7 cm | 20 x 26,7 inches | 300dpi
• Fotografo: Heritage Art/Heritage Images

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Portrait of Anna Walmesley, 1795. Sons of a clockmaker, Nathaniel Plimer and his younger brother Andrew initially trained in their father's profession, although they grew restless with this trade, and ran off to live with Gypsies for two years. By 1781, they were together in London, and determined to practice art. Both took up residence with established artists. Nathaniel worked as a servant to the enamelist Henry Bone, and Andrew became the valet to the portrait and miniature painter Richard Cosway. Cosway discovered Andrew copying one of his miniatures and introduced him to miniature painting. Andrew assimilated his master's airy execution and adapted Cosway's linear brushwork that leaves much of the bare ivory visible. He also employed Cosway's use of large, expressive eyes that made his miniatures appear soulfully elegant, earning him high praise among legions of admirers. A quick study, Andrew set up his own studio by 1786 and he exhibited regularly at the Royal Academy of Arts from 1786-1830. Andrew Plimer's works fall into two phases. In the first, his sitters appear more naturalistically rendered than those painted after around 1789. During the earlier period he frequently included his initials, "A.P., " on the front of the miniature, followed by a date. By contrast, he did not sign or date works in the second phase. Furthermore, in Andrew's second phase of work, he reduced his palette and, perhaps due to his high output, sitters share many visual characteristics; in particular, his women have elongated necks, long noses, and large appealing eyes.

Parole chiave associate all'immagine

• 1763-1837
• 18 secolo xix
• acquarello su avorio in una cornice dorata con rovescio di capelli
• andrew plimer britannico
• aquarello
• arte del patrimonio
• el museo de arte de cleveland
• inghilterra
• miniatura di ritratto
• pittura