Sir Thomas Lawrence, 1769–1830, British
|Title||Portrait of William Lock II of Norbury Park, Surrey|
Portrait of William Lock II (1767-1847) of Norbury Park, Surrey
William Lock the Younger
|Medium||Oiled charcoal and blue-gray ground on canvas|
|Dimensions||Sheet: 26 x 19 inches (66 x 48.3 cm) Frame: 34 1/2 x 28 x 3 1/4 inches (87.6 x 71.1 x 8.3 cm)|
|Credit Line||Yale Center for British Art, Paul Mellon Fund and Friends of British Art Fund|
|Collection||Prints and Drawings|
The virtuoso portrait painter Sir Thomas Lawrence was an extremely talented draftsman, despite his lack of formal training, and he frequently drew for pleasure as an antidote to the pressures and tedium of his professional life. It has been suggested that Lawrence's sensitive portrait of the younger William Lock may be a study for an untraced portrait of the sitter exhibited as the royal Academy in 1791. Lock's attire and hairstyle indicate a later dating however, and Lawrence did not usually make preliminary drawings for his paintings, preferring to prepare them by drawing directly on the canvas with chalk.
This technique clearly fascinated his sitters. Joseph Farington recorded in his diary for 7 May 1794: "This morning I sat to Lawrence when He drew in my portrait with black chalk on the Canvass, which employed him near 2 hours. He did not use colour today. - This is his mode of beginning," and Lady Elizabeth Leveson-Gower recalled: "what struck me most…was the perfection of the drawing of his portraits before any colour was put on." Lawrence also made a number of chalk portraits on canvas which he seems to have regarded as drawings in their own right, and no. 13 almost certainly falls into this category. Moreover, the portrait was owned by Lock, which implies that Lawrence would have considered it a finished work.
The sitter was the son of the connoisseur William Lock (1732-1810), was one of Lawrence's first sitter and a close friend of the artist. The younger Lock (1767-1847) was a keen patron of the arts and an aspiring artist, but after viewing Rome he lost faith in his talent and gave up painting, though he continued to draw.
-- Gillian Forrester, 2001-05
|Link to This Record||http://collections.britishart.yale.edu/vufind/Record/1668550|
|People Represented or Subject||• Lock, William, the younger (1767–1847), artist|
|Subject Terms||coat | costume | gaze | long hair | man | portrait | posing | shirt | solemn|
Dr. Kenneth Garlick, A Catalogue of the Paintings, Drawings and Pastels of Sir Thomas Lawrence, Volume of the Walpole Society, v. 39, Walpole Society, 1962-1964, p. 235, N12 W35 A1 39 + (YCBA)
Thomas Lawrence, Regency power & brilliance, Yale Center for British Art, New Haven, 2010, pp. 130,..., No. 19, NJ18 L42 T56 2010 + (YCBA)
Leslie M. Scattone, New Information on Lawrence's ' Portrait of Joseph Henry ', Burlington Magazine, vol. 155, no. 1321, April 2013, pp. 247, 249, fig. 40, N1 B87 (LC)+ OVERSIZE (YCBA)
The ruin and the sketch in the eighteenth century, vol. 2, Wissenschaftlicher Verlag Trier, Trier, 2008, p. 207, fig. 6, N6766 .R75 2008 (YCBA)
Susan Owens, The art of drawing : British masters and methods since 1600, V&A Publishing, London, 2013, pp. 60,. 61, fig. 41, NC228 .O92 2013 OVERSIZE (YCBA)
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