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Mary Beale (née Cradock) (1633–1699) was an English portrait painter. She was part of a small band of female professional artists working in London. Beale became the main financial provider for her family through her professional work – a career she maintained from 1670/71 to the 1690s. [1] Beale was also a writer, whose prose Discourse on ...
Mar 31, 2020 · Mary Beale c.1666. Mary Beale (1633–1699) National Portrait Gallery, London. For Beale, as for many early women artists, her vocation was prompted by her family environment. Her father was an amateur artist and miniature painter and, when she married, it was to a man who had been fascinated by painting long before they met: Charles Beale ...
Mary Beale (née Cradock) (1633–1699) was an English portrait painter. She was part of a small band of female professional artists working in London. Beale became the main financial provider for her family through her professional work – a career she maintained from 1670/71 to the 1690s. Beale was also a writer, whose prose Discourse on ...
Jan 8, 2023 · Mary Beale was a Baroque painter from the 17th century. Her talent led her to become the first professional British female artist. Luckily, she enjoyed the support of her family and friends in pursuing an artistic career. In a time of limited gender roles, Beale managed to become the breadwinner of her family, while also being a mother and wife.
- Making The Unthinkable Appear Admirable
- A Year in The Life of The Artist
- “Discovering” Mary Beale
- Only as Good as One’S Sources
- Mea Culpa…
- “The First Rule of Transcription Club Is … Look!”
- Reclamation
An artist of published repute by 1658, Mary Beale—married and a parent—was not a fully professional portraitist until 1670/1. Thereafter, income from her studio in fashionable, courtly Pall Mall largely supported her family of four. After several years of mundane civil service, husband Charles Beale became her full-time studio manager. He prepared ...
Reader, Mary was a success! But how do we know? In part because Charles Beale kept an annual studio notebook for more than thirty years. In each he listed Mary’s sitters and sittings, completed portraits, the materials she used, the prices paid, debts incurred, the cost of his new suit, and her painterly triumphs, among other things. Charles’ book ...
In recent years Mary Beale’s work has been re-evaluated and re-appreciated, not least of all through the discernment of some private art dealers—Philip Mould, James Innes-Mulraine and Bendor Grosvenorin particular—who, over the past twenty years, have brought to the market many “new” and often (at the time) uncharacteristically informal works. Tate...
A strikingly popular category of biography of late is the re-telling of early modern women artists’ lives singly, or in collective form. These accounts are often written by non-specialists who have little or no knowledge of the relevant manuscript sources. They rely instead on digesting, with entirely creditable enthusiasm, secondary or even third-...
I must here declare that I write from personal, if distant, experience of having perpetuated a similar error, though thankfully not in print. I first transcribed Charles’ 1677 studio notebook in 1999, using one made by an earlier, and truly ground-breaking scholar, Elizabeth Walsh. It was Walsh who discovered the manuscript in the Bodleian Library ...
In Walsh’s transcription of “1677,” she recorded a passage describing the visit to Beale’s studio of Peter Lely (d.1680), the foremost Restoration portraitist, accompanied by a “Mr Wemburg.” The pair commended Mary’s work and they discussed some plaster casts of limbs which she and Charles had made to draw from. Walsh had been unable to identify “W...
It came as a shock to confront this small but crucial inaccuracy of my own making. I wondered at my carelessness in replicating the mistake, and the insight I had denied myself by not interrogating the secondary text on which I had at first relied. After all, accuracy is everything if we are to attain a real understanding of the lives, works and ac...
Apr 9, 2020 · Read Gender International NGV Collection Painting Portraiture. Mary Beale’s three-quarter-length Self-portrait with husband and son c. 1663–64 (The Geffrye, Museum of the Home, London), anticipates her renown a decade later as a professional portrait painter in post-Restoration London. This early group portrait not only conveys Mary’s ...
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Sep 10, 2021 · She married Charles Beale, also an artist, in 1652 and together they formed a partnership that saw Mary become the main bread winner, while her husband became her studio assistant and manager. The couple lived through the immediate aftermath of England’s Civil War, the tumult of the 17th century Bubonic plague, the Great Fire of London of ...
