The Douglas Children, or 'Juvenile Retirement' is a
painting in the Rotheschild Collection.
Exhibited at the Royal Academy Exhibition in 1795 along with nine other
works by John Hoppner, this popular portrait evidences the artist's
approach to his new-found success. His sensitivity to the demands of his
patron is combined both with the use of an earlier composition but also
an attention to detail that obscures the amount of work Hoppner took on
in this year.
Made an academician just two years before, the 1795 exhibition marked
Hoppner's arrival as the leading painter of the day. Commenting on this
painting, a newspaper critic praised Hoppner for the natural and
graceful grouping of his sitters as well as the sweetness and charm of
the faces and colours. The portrait was engraved by J Ward in 1796 and
given the title of 'Juvenile Retirement'.
Four children of the Earl of Morton, typical of the titled clients
Hoppner had come to attract, react differently to posing sedately for a
formal portrait. The patron, John Douglas, was the second son of
James
Douglas, the 14th Earl of Morton and his wife, Frances Lascelles, was
the eldest daughter of Edward, Earl of Harewood. Standing on the right,
carefully balancing a magnificent plumed bonnet on his head, is
George
Sholto, who succeeded his cousin as 17th Earl of Morton in 1827. His
older sister, Frances is calmly seated to the left. Harriet kneels
behind her, turning to laugh at the baby Charles, sitting with a
somewhat surly expression in the centre. All but one of the children
stare out at the viewer, no doubt at the request of the Earl.
George's pose is taken from Hoppner’s oldest son in the portrait of his
own children made in 1791 (National Gallery of Art, Washington (acc. no.
1942.9.35). Hoppner’s children are more immersed in the landscape, they
are about to bathe in a stream at the edge of a wood and only the eldest
looks out. In contrast, details in the lush trees and sky behind the
Douglas children simply echo details of the figures, such as George's
plumed hat. The backdrop does little to detract from the masterly
rendition of each childs’ expression.
Despite his large number of commissions from prestigious families,
Hoppner did not employ assistants or rush his work. A number of visible
changes in this composition (known as pentimenti), as well as the
application of paint in several layers in the background landscape,
indicates Hoppner took time to develop and adapt his composition to the
best possible effect.
Provenance
Commissioned by John Douglas (b.1756, d.1818); by descent to his son,
the sitter, George Sholto Douglas, 18th Earl of Morton (b.1789, d.1858);
by descent to his grandson Sholto George Douglas, 19th Earl of Morton
(b.1844, d.1935); bought in 1901 via Agnew's from 19th Earl of Morton by
Nathaniel Mayer Rothschild, 1st Baron Rothschild (b.1840, d.1915) for
£10,500 and two pictures; inherited by his wife Lady Emma Louisa von
Rothschild (b.1844, d.1935); then to a Rothschild Family Trust.
Exhibition history
Royal Academy, London, 1795, no. 58
'British Painting in the Eighteenth Century', The British Council, The
Montreal Museum of Fine Arts, the National Gallery of Canada, The Art
Gallery of Toronto, The Toledo Museum of Art, 1957-58, no. 51
Collection
Waddesdon (Rothschild Family)
On loan since 1998
Person as Subject
Morton, George Sholto Douglas, 18th Earl of (b.1789, d.1858)
Douglas, Charles (b.1791, d.1857)
Douglas Stewart, Frances (b.1786, d.1833)
Douglas Hamilton, Harriet (b.1792, d.1833)
On display in:
East Sitting Room, Waddesdon Manor, Aylesbury, Buckinghamshire
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