id: 120841 accession number: 1941.564 share license status: CC0 url: https://clevelandart.org/art/1941.564 updated: 2023-03-07 15:13:45.365000 Portrait of Anna Maria Woolf, née Smart, c. 1785. John I Smart (British, 1741–1811). Graphite and wash on laid paper; framed: 9.1 x 7.8 cm (3 9/16 x 3 1/16 in.); unframed: 6.7 x 5.4 cm (2 5/8 x 2 1/8 in.). The Cleveland Museum of Art, The Edward B. Greene Collection 1941.564 title: Portrait of Anna Maria Woolf, née Smart title in original language: series: series in original language: creation date: c. 1785 creation date earliest: 1784 creation date latest: 1786 current location: creditline: The Edward B. Greene Collection copyright: --- culture: England, 18th century technique: graphite and wash on laid paper department: Drawings collection: DR - British type: Portrait Miniature find spot: catalogue raisonne: --- CREATORS * John I Smart (British, 1741–1811) - artist John Smart is often regarded as the most skilled painter of portrait miniatures at the height of the art form’s popularity in late-eighteenth-century Britain. While the free style and white and blue color palette of his rival Richard Cosway (1742–1821) conjured up the glamour of fashionable society, Smart’s attention to minute detail, saturated colors, and frank conveyance of likeness and character attracted a different type of clientele, one who prized these qualities
above Cosway’s homogenized modishness.
Information is limited about Smart’s life and career, so much so that while G. C. Williamson had penned the definitive biographies of Cosway, George Engleheart (1752–1829), and Andrew Plimer (1763–1837) by 1905, it wasn’t until 1964 that a biography of Smart appeared. Little is known about the artist’s early training beyond evidence suggesting that before the age of fourteen, he was winning prizes from the Society of Arts for his drawings and, like Cosway, was an apprentice in William Shipley’s London school in St. Martin’s Lane. Smart exhibited for several years as an active member and eventually president of the Society of Artists of Great Britain before seeking his fortune as a miniature painter in India, where he lived between 1785 and 1795, hoping to secure patronage from wealthy princes and those
involved in England’s growing trade market. Works from this period are signed with the initial I, signifying India.
Unlike Cosway, an ostentatious showman, Smart lived and worked quietly, settling in London after his return from India and exhibiting at the Royal Academy. His style, which changed little throughout his career, is characterized by a meticulous description of a sitter’s countenance through the use of delicate stippling, often featuring wrinkles, crow’s feet around the eyes, and a slightly upturned mouth that suggests joviality. Unlike his contemporaries Cosway, Engleheart, and Plimer, whose backgrounds most often featured blue and white cloudy skies, Smart painted his backgrounds in varying shades of browns, greens, and grays. The size of the artist’s miniatures expanded over time, measuring around 11/ 2 inches until about 1775, then 2 inches until around 1790, and 3 inches thereafter. Though
highly sought after in his time, Smart’s work grew even more popular among collectors following his death. The Cleveland Museum of Art has a total of twenty-three portraits by Smart: seven gentlemen sitters painted on ivory and sixteen preparatory drawings of men and women. Of the seven miniatures on ivory, two date from 1770, three from
Smart’s years in India, and two after his 1795 return to London. --- measurements: Framed: 9.1 x 7.8 cm (3 9/16 x 3 1/16 in.); Unframed: 6.7 x 5.4 cm (2 5/8 x 2 1/8 in.) state of the work: edition of the work: support materials: description: card watermarks: inscriptions: inscription: Signature: none; inscribed on front of paper at upper right corner: 1[?][?]; inscribed on paper backing, in graphite at left center: Indi; upside down, at left above center: 38; inscribed in brown ink at center, on back of drawing: Mrs Peirce translation: remark: --- 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). --- LEGACY EXHIBITIONS * Royal Amateur Art Society Exhibition of Miniatures, Moncorvo House, London, England, (March 5-8, 1904). --- PROVENANCE Sarah Smart (1781-1853), daughter of the artist by Sarah Midgeley, gifted to Mary Smirke date: 1811-c. 1853 footnotes: citations: Mary Smirke (d. 1853, Slough); by inheritance to her brother, Sydney Smirke. date: c. 1853- footnotes: citations: Sydney Smirke (1798-1877) by inheritance to his daughter, Mrs. Lange. date: 1853-77 footnotes: citations: Mrs. Lange (née Smirke, d. 1928), by inheritance to her brother, Sir Edward Smirke. date: 1877-1928 footnotes: citations: Sir Edward Smirke date: 1928 footnotes: citations: (Sale: Christie’s, London, December 10,1928, lot 2). date: December 10,1928 footnotes: citations: Leo Schidlof (1886-1966), Paris, France, sold to Edward B. Greene date: 1928-1929 footnotes: citations: Edward B. Greene (1878-1957), Cleveland, OH, gifted to the Cleveland Museum of Art. date: 1929-1941 footnotes: citations: The Cleveland Museum of Art, Cleveland, OH date: 1941- footnotes: citations: --- fun fact: After living in India for many years, Anna Maria was en route to England when she was forced to disembark at St. Helena to give birth to her son. digital description: wall description: Although it is impossible to say whether or not it was always part of the artist’s process to execute a preparatory sketch prior to painting each miniature, we do know that John Smart retained many hundreds of these sketches. A group of preparatory sketches—of which this portrait is one—descended through the Smirke family after Smart’s daughter Sarah gave a sketchbook containing preparatory portrait studies to her friend Mary Smirke, sister of the celebrated Victorian architect Sydney Smirke. This book was probably broken up around 1877 when it was divided between Sydney’s daughters Mary Jemmett and Mrs. Lange, whose portions were both sold at auction in 1928.
This portrait was assigned the historically colorful but fictitious title of “Duchess Christina” at some point after memory of its true identity had been lost. Giving illustrious titles to portraits of unknown sitters was a popular strategy adopted by dealers during the nineteenth and twentieth centuries, often applied to miniature portraits and, in particular, to Smart’s sketches of women. Here, the sitter’s head is turned slightly to her left. She has dark brown eyes, rosy cheeks, and long, wavy dark hair falling below her shoulders. She wears a white dress with long sleeves and a ruffled bodice, and a small lozenge-shaped pendant around her neck. She is placed inside a faintly suggested oval, and the background is unpainted. The paper backing—removed in 1993—was inscribed with “38” and “Indi,” which may suggest that the sketch was executed during Smart’s time in India. The inscription that was discovered on the back of the drawing after the paper backing was removed reads, “Mrs [or perhaps Miss] Peirce.” Although the inscription appears to be in the artist’s hand, and in the brown ink he used to annotate his preparatory sketches, its relationship to this portrait is unclear.
The sitter is probably Anna Maria, Smart’s eldest daughter by his first wife, whose name is unknown. Anna Maria (1766–1813) traveled with her father to India in 1785, sailing from England on April 19 and arriving in Madras on September 6. If the work was executed in India at the time Anna Maria accompanied her father there, the sketch may be dated to around 1785, the year they moved to the subcontinent. Anna Maria would have been around 18 years old. The fact that this portrait is of an older girl who dons a plain, modest dress and wears her hair down suggests an intimacy not found in the type of portraits Smart commonly executed of women wearing fine gowns and elaborately dressed hair. --- RELATED WORKS --- CITATIONS Cleveland Museum of Art, and Edward Belden Greene. Portrait Miniatures ; The Edward B. Greene Collection. 1951. page number: p. 31, no. 42, pl. XIV url: https://archive.org/details/PortraitMiniatures/page/n61 Foskett, Daphne. John Smart: the Man and His Miniatures. [London]: Cory, Adams & Mackay, 1964. page number: pp. 13, 14, 16, 38–40, 76 url: Korkow, Cory, and Jon L. Seydl. British Portrait Miniatures: The Cleveland Museum of Art. 2013. page number: Cat. no. 47, pp. 193-195 url: --- IMAGES web: https://openaccess-cdn.clevelandart.org/1941.564/1941.564_web.jpg print: https://openaccess-cdn.clevelandart.org/1941.564/1941.564_print.jpg full: https://openaccess-cdn.clevelandart.org/1941.564/1941.564_full.tif