Ellia Waterhouse, The Dictionary of 18th Century British Painters, 1981
Portrait of a lady, three-quarter length, wearing a blue silk gown, seated in a classical interior, with her daughter in a pink gown standing beside her holding a sprig of blossom. This charming portrait portrays the touching bond between mother and child and the sprig of blossom is used to symbolise the innocence and purity of the young girl's nature. The colour palette of blues and pinks used in the clothes combined with the blush pink in the facial skin tones suggesting a healthy glow make this a particularly attractive painting.c.1720. Oil on canvas in a period giltwood frame.
Joseph Highmore (1692–1780), was an English painter, born on 13 June 1692 in the parish of St James in the City of London, the third son of Edward Highmore, a coal merchant, and his wife, Maria, née Tull. From 1702 to 1704 he attended Merchant Taylors' School in London, and from 1707 trained as a lawyer. Highmore was, however, determined to pursue a career as an artist, no doubt in emulation of his uncle Thomas Highmore (1660–1720), the serjeant-painter. During his training he attended the anatomical lectures of William Cheselden and Sir Godfrey Kneller's drawing academy.
One of his earliest known portraits, of the ivory carver David le Marchand (c.1723; NPG), reveals Highmore's debt to Kneller at his most vivacious. In 1715, freed from the law, he established a successful portrait-painting practice, and on 28 May 1716 he married Susanna Hiller, with whom he had two children, Anthony and Susanna. In 1724 the Highmores moved from the parish of St Swithin in the City of London to a house on the north side of the more affluent Lincoln's Inn Fields, an indication of Highmore's professional success .
Highmore's clientele came predominantly from the wealthy gentry or professional middle classes. Unusually among artists of the period, he did not use students or drapery painters; as he proudly wrote: 'I do every thing my self, which I believe is not true of one painter in England besides' (letter to James Harris, 23 March 1741).
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British and European paintings and sculpture from the 16th To 19th century