Lemuel Francis Abbott

1760-1803 Lemuel Francis Abbott Locations English painter. He was the son of a clergyman and went to London to study with Francis Hayman shortly before the latter death in 1776; he may have completed his studies in Derby with Joseph Wright of Derby. By the early 1780s Abbott had established a busy portrait practice in London. The formula he adopted for most of his head-and-shoulder portraits can be seen in Sir William Herschel (1785; London, N. Mar. Mus.): the body is parallel to the picture plane, and the sitter head is moved into three-quarter profile, as if his attention has been suddenly distracted. In later portraits, such as those of fellow artists Francesco Bartolozzi (c. 1792; London, Tate) or Joseph Nollekens (c. 1797; London, N.P.G.), the sitter hand or some attribute balances the movement of the head. Only male portraits by Abbott are known, and his patrons were mostly drawn from the professional classes, particularly the Navy; there are several versions of Lord Nelson (e.g. 1798; London, N. Mar. Mus.). His style is crisp but scratchy in technique, and often the anatomy of his figures is inaccurate. Paint is handled in a manner comparable with that of Gainsborough Dupont, but Abbott sense of composition is superior. In 1798 he was certified insane, but he continued to exhibit at the Royal Academy in London for two further years. Several of his works were probably finished by another hand.

  1  2  3  4   Next
  Prev Artist       Next Artist     

 

Lemuel Francis Abbott Rear-Admiral Sir Horatio Nelson oil painting


Rear-Admiral Sir Horatio Nelson
Painting ID::  161
Artist: Lemuel Francis Abbott
Painting: Rear-Admiral Sir Horatio Nelson
Introduction: 1800 National Maritime Museum, Greenwich, London 76.2 x 63.5cm
   
   
     

Lemuel Francis Abbott Rear-Admiral Sir Horatio Nelson_a oil painting


Rear-Admiral Sir Horatio Nelson_a
Painting ID::  162
Artist: Lemuel Francis Abbott
Painting: Rear-Admiral Sir Horatio Nelson_a
Introduction: 1800 National Maritime Museum, Greenwich, London 76.2 x 63.5cm
   
   
     

Lemuel Francis Abbott Rear-Admiral Sir Robert Calder oil painting


Rear-Admiral Sir Robert Calder
Painting ID::  163
Artist: Lemuel Francis Abbott
Painting: Rear-Admiral Sir Robert Calder
Introduction: 1797 National Maritime Museum, Greenwich, London 762 x 635 mm
   
   
     

Lemuel Francis Abbott Captain John Cooke oil painting


Captain John Cooke
Painting ID::  164
Artist: Lemuel Francis Abbott
Painting: Captain John Cooke
Introduction: 1797-1805 National Maritime Museum, Greenwich, London 762 x 635 mm
   
   
     

Lemuel Francis Abbott Admiral Alexander Hood oil painting


Admiral Alexander Hood
Painting ID::  165
Artist: Lemuel Francis Abbott
Painting: Admiral Alexander Hood
Introduction: 1795 National Maritime Museum, Greenwich, London 1270 x 1016 mm
   
   
     

  1  2  3  4   Next
Prev Artist       Next Artist     

     Check All Lemuel Francis Abbott's Paintings Here!
     1760-1803 Lemuel Francis Abbott Locations English painter. He was the son of a clergyman and went to London to study with Francis Hayman shortly before the latter death in 1776; he may have completed his studies in Derby with Joseph Wright of Derby. By the early 1780s Abbott had established a busy portrait practice in London. The formula he adopted for most of his head-and-shoulder portraits can be seen in Sir William Herschel (1785; London, N. Mar. Mus.): the body is parallel to the picture plane, and the sitter head is moved into three-quarter profile, as if his attention has been suddenly distracted. In later portraits, such as those of fellow artists Francesco Bartolozzi (c. 1792; London, Tate) or Joseph Nollekens (c. 1797; London, N.P.G.), the sitter hand or some attribute balances the movement of the head. Only male portraits by Abbott are known, and his patrons were mostly drawn from the professional classes, particularly the Navy; there are several versions of Lord Nelson (e.g. 1798; London, N. Mar. Mus.). His style is crisp but scratchy in technique, and often the anatomy of his figures is inaccurate. Paint is handled in a manner comparable with that of Gainsborough Dupont, but Abbott sense of composition is superior. In 1798 he was certified insane, but he continued to exhibit at the Royal Academy in London for two further years. Several of his works were probably finished by another hand.