id: 120837
accession number: 1941.561
share license status: CC0
url: https://clevelandart.org/art/1941.561
updated: 2020-05-07 09:06:45.175000
Portrait of a Woman , late 1790s. Andrew Plimer (British, 1763-1837). Watercolor on ivory in a gold frame with glazed reverse; framed: 8.5 x 7.2 cm (3 3/8 x 2 13/16 in.); sight: 8 x 6.5 cm (3 1/8 x 2 9/16 in.). The Cleveland Museum of Art, The Edward B. Greene Collection 1941.561
title: Portrait of a Woman
title in original language:
series:
series in original language:
creation date: late 1790s
creation date earliest: 1795
creation date latest: 1799
current location:
creditline: The Edward B. Greene Collection
copyright:
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culture: England, 18th -19th century
technique: watercolor on ivory in a gold frame with glazed reverse
department: European Painting and Sculpture
collection: P - British before 1800
type: Portrait Miniature
find spot:
catalogue raisonne:
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CREATORS
* Andrew Plimer (British, 1763-1837) - artist
Born the 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 enamellist, Henry Bone, whereas 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 which leaves much of the bare ivory visible. He also employed Cosway's use of large, expressive eyes which made his miniatures appear soulfully elegant, earning him high praise amongst 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.
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measurements: Framed: 8.5 x 7.2 cm (3 3/8 x 2 13/16 in.); Sight: 8 x 6.5 cm (3 1/8 x 2 9/16 in.)
state of the work:
edition of the work:
support materials:
inscriptions:
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CURRENT EXHIBITIONS
title: Intimate Images: Portrait Miniatures from Europe and America
opening date: 1993-03-26T04:00:00
Intimate Images: Portrait Miniatures from Europe and America. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 26-October 17, 1993).
title: Disembodied: Portrait Minatures and their Contemporary Relatives
opening date: 2013-11-10T00:00:00
Disembodied: Portrait Minatures and their Contemporary Relatives. The Cleveland Museum of Art (organizer) (November 10, 2013-February 16, 2014).
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LEGACY EXHIBITIONS
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PROVENANCE
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fun fact:
digital description:
wall description:
Sons of a clockmaker, Andrew Plimer and his old brother ran off to live with Gypsies for two years before settling down in London. Andrew was a valet for portrait and miniature painter Richard Cosway and Nathaniel was a servant for the enamelist Henry Bone. Andrew assimilated Cosway’s airy execution and adapted his 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. Andrew set up his own studio by 1786 and exhibited regularly at the Royal Academy of Arts through 1830. Andrew’s works fall into two phases. In the first, his sitters appear more naturalistically rendered than those painted after about 1789. During the earlier period he frequently included his initials on the front of the miniature, followed by a date; he did not sign or date works in the second phase. Furthermore, he reduced his palette and sitters share many visual characteristics; in particular, his women have elongated necks, long noses, and large eyes.
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RELATED WORKS
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CITATIONS
Cleveland Museum of Art. Portrait Miniatures ; The Edward B. Greene Collection. Cleveland, OH: The Cleveland Museum of Art, 1951.
page number: Reproduced: p. 29, no. 30, pl. XXII
url:
Korkow, Cory, and Dario Robleto. Disembodied: Portrait Miniatures and Their Contemporary Relatives. 2013.
page number: Mentioned: p.83, Reproduced: p.76
url:
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IMAGES
web: https://openaccess-cdn.clevelandart.org/1941.561/1941.561_web.jpg
print: https://openaccess-cdn.clevelandart.org/1941.561/1941.561_print.jpg
full: https://openaccess-cdn.clevelandart.org/1941.561/1941.561_full.tif