Mary Beale's self-portrait is a great statement to one of Englands's first professional female painters. Worried about the future of her husband's job, Mary started a successful portrait studio at their home in London. The business was a equal partnership between her and her husband in every way; Charles prepared the canvases, created new colors and managed their record books while Mary would paint her masterpieces. Like many female artists of that era, she was trained by her father.  She shows the viewer that she was also creative in a socially acceptable way; as the mother of two sons.


Born in Suffolk, England in 1633, Mary Cradock was the daughter of a Puritan clergyman named John Cradock. Mary was one of the very few women artists working in England during the 17th century and has been called the first truly professional female artist in Britain.

Mary's mother died when Mary was only 10 years old. Her father, who was good friends with the artist Robert Walker, introduced Mary to painting. In 1652 she married Charles Beale, who, like her father, was also an amateur painter. Around 1654 they were in London, where Mary embarked on a semi-professional career as a portrait painter; in 1658 she is mentioned in Sir William Sanderson's Graphice or, the use of the pen and pencil, in designing, drawing, and painting. It is believed that she may have studied painting under Robert Walker.

Her first son, Bartholomew, was baptized at St Paul's, Covent Garden, in 1656, and her second son, Charles, who later became a miniature painter, was born in 1660.

In her self-portrait she confirms her position as an artist by showing us a palette hanging on the wall behind her, and her status as a portrait painter and mother, by showing her right hand resting on a canvas portraying her sons.

Self-portraits were rare during that era, so it is interesting that Mary's self-portrait is an interesting variation on what was the conventional 17th century painting.

Mary's husband lost his position as Deputy Clerk of the Patents in 1665, and the family was forced moved to Albrook. Mary continued painting portraits; it was honest and guaranteed work that would keep her away from the influence of Sir Peter Lely that dominated much of her later works. When they returned to London, in 1670, Mary established a studio in their house on Fleet Street. Mary's studio attracted an influential circle of people, which included Thomas Flatman, the poet Samuel Woodford, John Tillotson, who was the Archbishop of Canterbury, and Bishop Edward Stillingfleet. She quickly became friends with Sir Peter Lely, a court painter for Charles II.

Her husband was her assistant, mixing paint and keeping the record books that contained details of her accounts and sittings. His record book from 1677 details a busy year: 83 commissions with total earnings of £429. Following the death of Lely in 1680, his style of portraiture became outdated. Charles's record book of 1681 refers to the family's reduced finances; Mary’s husband wrote "we had but only 2s.6d. left us in the house against Easter". In these record books, Charles would often refer to his wife as "Dearest Heart".

Mary Beale’s portrait of Dr. John Wilkins which was painted in the 1670's was extremely popular, she would produce many replicas, and the head was engraved by Abraham Blooteling. The pose was based on a portrait of Bishop Antoine Triest and served, with variations, for many of her later Episcopal portraits. A bust-length version at Wadham College, Oxford, is set within the characteristic feigned stone oval, with swags of fruit, which frequently appeared in her work. During the 1670s, Mary was in demand as a portraitist from the life and also as a copyist, particularly after Lely. Her prices, £5 for a head and £10 for a three-quarter-length, were highly competitive. Her family and friends provided the basis of a steady flow of clients. In 1677 she received a commission for 30 portraits of the Lowther and Thynne families. Her work at this period, probably the height of her success, was very uneven, but she occasionally produced an imposing portrait such as the Honorable Henry Coventry, and she was usually successful with children and young adults.

By the time of Lely’s death in 1680 Mary’s practice was in decline, and she spent much of her time producing intimate oil studies on canvas of her family. The Revolution of 1688 brought advancement to many of her friends, but major commissions were beyond her capabilities. The sympathetic head she painted of Dr. Thomas Sydenham is one of the best of her later works. The exceptional documentation of her life and career provides a unique record of the London art world of her time.

One of Mary's sons, known as Charles Beale went on to a successful career as a painter. Mary also taught art and one of her students, Sarah Cuties eventually became a well-known painter. Beale worked in several media including oils, pastels and water colors. Her studies of children were particularly well-received.

Mary worked until her death in 1699. Mary and her husband are both buried in St James cemetery, in Piccadilly.

You can view her self portrait at:

  • http://tinyurl.com/6afab


For more information on other female artists that have contributed to art history, please check Lesser known female artists.


Sources:
Women And The Art World. 2nd ed. : Alpine Publishers, 1971.
http://www.csupomona.edu
http://www.nmwa.org
http://cgee.hamline.edu
http://www.highbeam.com

Log in or registerto write something here or to contact authors.