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231:, written in 1709, Johnston mentions that "were it not for the assistance my wife gives by drawing of Pictures (which can last but a little time in a place so ill peopled) I should not be able to live", indicating that Henrietta had again taken up her drawing to augment the couple's income. Another letter, dated a year later, reveals that she had run out of drawing materials and suffered "a long and tedious Sickness". Johnston made one return trip to England, in 1711–1712; her husband, too, returned there once, from 1713 to 1715. He died in a boating accident in 1716, not long after returning to Charleston.
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317:, while those from her time in South Carolina are generally lighter and smaller, due likely to the precious nature of her materials, which had to be imported. The Irish works, which show the most attention to detail of all her works, depict sitters at three-quarter length, as do the earliest of her Carolina pastels. Johnston's American female subjects are usually shown wearing
227:. The couple's time in the colonies was hard; Johnston was frequently writing the Society to request payment of his salary, which was often delayed, and their lives were further hampered by illness, lack of supplies, and distance from family. In one of his letters to his patron
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eyes. Works dating to after her second husband's death are less finished; details of clothing are less well-defined and colors are less saturated, suggesting either that the artist was running out of materials or that she was working at greater speed to complete commissions.
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About forty portraits by
Johnston are known to survive; many have preserved their original frames and backboards, on which her signature may be found. These mostly depict members of her social circle and, later, of her husband's Charleston congregation, such as Colonel
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It is unknown whether or not
Johnston studied painting and drawing; however, given the sophistication of her work, it is likely that she did indeed receive some form of training. Similarities between her pastels and the works of Irish artist
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Johnston usually signed her portraits on their wooden backing, noting her name, the location of completion, and the date of completion in order. A typical signature is the inscription on the reverse of her portrait of Philip
Perceval:
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from approximately 1708 until her death. She is both the earliest recorded female artist and the first known pastelist working in the
English colonies, and is the first portraitist known to have worked in what would become the
157:. It was during this time that Johnston began to draw pastels. Her earliest portraits depicted a number of powerful people to whom she was related by marriage; among these were
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325:. Each subject is shown sitting erect, with the head frequently turned at a slight angle from the body and towards the viewer. The faces are typically dominated by large
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Miles instead states that she was born
Henrietta de Branlien in either England or Ireland; she does, however, agree with the theory that the artist was of Huguenot origin.
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361:. Many of her South Carolina portraits depict members of Huguenot families that had settled in the New World, including the Prioleaus, Bacots (including
252:, as four portraits dated 1725 exist depicting members of a family from that city. She returned to Charleston at some time before her death in 1729.
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in 2000, seven with their original frames. Williams protected them from the light in an upstairs dressing room where the shutters were kept closed.
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attributed to her hand are the backgrounds of a pair of children's portraits from New York, which are also her only known portraits of children.
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Both the date and place of
Johnston's birth are unknown; it has been suggested, and is generally accepted, that she was born in northwestern
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The family is that of
Colonel John Moore, formerly of South Carolina; what link may have existed between them and Johnston is unknown.
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313:, which at the time were greatly in fashion in the United Kingdom and the colonies. Her pastels from Ireland are drawn in deep
694:"MERCER HOUSE, SAVANNAH. THE COLLECTION OF THE LATE JAMES A. WILLIAMS. CONTENTS TO BE SOLD BY SOTHEBY’S NEW YORK ON OCTOBER 20"
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Dering's husband died in about 1704, leaving
Henrietta a widow with two daughters. In 1705 she married again, this time to
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in
Charleston, which has developed an interactive online exhibition dedicated to her work; other pieces may be seen in the
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Nine portraits, each depicting members of the
Southwell and Perceval families, were owned by American preservationist
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Little is known of Johnston's later life in the colonies. She is known to have traveled at some point to
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404:. Seven are inscribed "Dublin, Ireland" and are dated from 1704 to 1705. They were put up for sale by
321:, while the male subjects are drawn mostly in street clothes; some of the latter are depicted wearing
385:. Johnston is not known to have worked in oils, but one of her portraits was copied at some point by
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Richard H. Saunders; Ellen Gross Miles; National Portrait Gallery (Smithsonian Institution) (1987).
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in either 1685 or 1687. In 1694 Henrietta married Robert (possibly William) Dering, fifth son of
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A suggestion has been made that Johnston was related to the painter and dancing master
141:, were Francis (possibly Cézar) and Suzanna de Beaulieu, and the family immigrated to
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in Charleston. One of her daughters by her first marriage, Mary Dering, later became
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522:. Published by the Smithsonian Institution Press for the National Portrait Gallery.
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In pose and coloring, many of Johnston's portraits strongly resemble those of Sir
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Johnston and her second husband are buried together in the cemetery of
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and his first wife Marianne Fleur Du Gue) and duBoses (including
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648:"Mrs Pierre Bacot (Marianne Fleur Du Gue) by Henrietta Johnston"
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indicate that she may have studied with them at some point.
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Henriette Charlotte Chastaigner (Mrs. Nathaniel Broughton),
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Society for the Propagation of the Gospel in Foreign Parts
681:. At the Gibbes Museum of Art. Retrieved March 12, 2015.
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at Castlemore. Two years later, he was appointed by the
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Johnston was almost exclusively a portraitist; the only
479:"Henrietta Johnston at the South Carolina Encyclopedia"
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369:). Today, a number of her works are held by the
782:Burials at St. Michael's Churchyard (Charleston)
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169:. Her earliest surviving pastel dates to 1704.
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278:in 1749, but this is not generally accepted.
549:. Greenwood Publishing Group. pp. 91–.
715:- The Devoted Classicist, December 12, 2011
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347:Henrietta Dering Fecit / Dublin Anno 1704.
338:Mrs. Pierre Bacot (Marianne Fleur Du Gue)
187:clergyman Gideon Johnston, a graduate of
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375:Museum of Early Southern Decorative Arts
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60:Museum of Early Southern Decorative Arts
757:Artists from Charleston, South Carolina
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519:American colonial portraits, 1700–1776
239:Anna Cuyler (Mrs. Anthony) Van Schaick
106:Henrietta de Beaulieu Dering Johnston
792:18th-century American women painters
623:"Pierre Bacot by Henrietta Johnston"
481:. Scencyclopedia.org. Archived from
153:; she and her husband then moved to
747:People from colonial South Carolina
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589:Gerard C. Wertkin (2 August 2004).
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274:, who migrated to Charleston from
112:of uncertain origin active in the
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593:Encyclopedia of American Folk Art
114:English colonies in North America
108:(c. 1674 – March 9, 1729) was a
543:Elisabeth Louise Roark (2003).
383:Greenville County Museum of Art
65:Greenville County Museum of Art
777:18th-century American painters
672:Henrietta Johnston Interactive
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257:St. Michael's Episcopal Church
147:Sir Edward Dering, 2nd Baronet
16:American artist (c. 1674–1729)
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713:"Notable Homes: Mercer House"
221:St. Philip's Episcopal Church
752:Painters from South Carolina
203:of the Church of England in
137:. Her parents, both French
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546:Artists of Colonial America
241:, ca. 1725, pastel, in the
215:. He was also to serve as
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627:Metropolitan Museum of Art
379:Metropolitan Museum of Art
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189:Trinity College, Dublin
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772:18th-century Anglicans
597:. Routledge. pp.
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276:Williamsburg, Virginia
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119:southern United States
396:and displayed at his
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243:New York State Museum
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412:Notes and references
371:Gibbes Museum of Art
263:to the daughters of
191:then serving as the
178:Gibbes Museum of Art
55:Gibbes Museum of Art
787:Artists from Rennes
133:, near the town of
699:2020-03-17 at the
677:2013-11-05 at the
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167:Earls of Barrymore
161:, later to become
23:Henrietta Johnston
608:978-1-135-95615-8
556:978-0-313-32023-1
529:978-0-87474-695-2
402:Savannah, Georgia
165:, and one of the
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163:Earl of Egmont
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487:. Retrieved
483:the original
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398:Mercer House
394:Jim Williams
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363:Pierre Bacot
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303:Pierre Bacot
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199:to serve as
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40:Notable work
737:1729 deaths
315:earth tones
45:in museums:
726:Categories
703:- Sothebys
489:2014-01-19
381:, and the
351:landscapes
225:Charleston
201:commissary
95:and others
406:Sotheby's
265:George II
139:Huguenots
110:pastelist
88:Patron(s)
697:Archived
675:Archived
319:chemises
211:and the
185:Anglican
73:Movement
291:and of
155:Ireland
657:30 May
632:30 May
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377:, the
217:rector
143:London
135:Rennes
131:France
77:Rococo
33:Pastel
323:armor
282:Style
205:North
193:vicar
659:2019
634:2019
603:ISBN
551:ISBN
524:ISBN
327:oval
207:and
151:Mary
125:Life
601:–.
599:309
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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