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146:, producing a comparable amount of portraits of locals between 1755 and 1757. Throughout he continued using the compositions and portrait types he had learned in London; although somewhat outmoded by this time, they remained impressive. By the fall of 1758 Wollaston was back in Philadelphia; he was last recorded there in May 1759. It seems likely that he visited the
84:, who completed the drapery in paintings by these and other artists of the period. That Wollaston considered himself English rather than American may be seen by the label on the back of a portrait of William Smith, Jr. painted in 1751; the label describes the artist as "Johnannes Wollaston Londoniensis".
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background; most focus on careful depiction of the sitters' apparel, which serves as a conspicuous symbol of their class. His treatment of the subjects' eyes in particular is considered somewhat peculiar, and serves to identify even his unsigned portraits. His later works, especially those painted
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in
September 1765. Charleston was his last stop in America; he painted at least seventeen portraits there before returning to London in May 1767. Here he disappears from the historical record; the only further mention of his name comes in 1775, when he was encountered in
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during his
Charleston sojourn, depict figures on a smaller scale than the 50x40 format preferred by his Maryland and Virginia patrons. Wollaston has been described as "competent but not very inventive" by some modern critics.
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became acquainted with
Wollaston's work during the latter's time in Charleston, and adopted some of the older artist's techniques in his own later paintings.
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Wollaston travelled more widely in the
American colonies than any other painter, and served to satisfy a growing demand for formal portraiture for
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Wollaston's artistic style changed little in the eighteen years he spent in the
American colonies. His portraits feature rich depictions of
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and landowners. That his work was widely respected in his day can be seen from laudatory poetry published in the
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of 1765, suggest that his father's name was John
Woolston, and that he later changed his name to Wollaston.
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and elegant poses, and his subjects are smiling and oval-eyed; many of his poses seem to be drawn from
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Little is known of
Wollaston's early life. He is believed to have been the son of a painter, born in
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Wollaston's influence on younger artists was felt primarily in
Philadelphia; there, painters such as
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Today, Wollaston's portraits can be found in many museum collections; among these are those of the
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by the spring of 1753. During the following year or so he completed some sixty portraits of
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imitated his technique and compositions in their own output. It also seems likely that
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John
Wollaston, portrait painter: his career in Virginia, 1754-1758 (PhD dissertation)
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Wollaston's first securely documented work, executed in 1742, is a portrait of
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Stylistically, Wollaston's work bears some similarity to portraits by
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The
American Magazine and Monthly Chronicle for the British Colonies
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Wollaston crossed the Atlantic in 1749, settling for a time in
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694:. Vol. 33. New York: Grove's Dictionaries. p. 302.
234:. The former was penned by a "Dr. T. T." and reads in part:
30:. He was one of a handful of painters to introduce English
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styles of painting to Britain's North American colonies.
95:, c. 1745, oil on canvas, in the National Gallery of Art
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Similarly, little is known about his artistic training;
107:; the original still exists, in the collections of the
65:, mentions that Wollaston trained in London with a
191:. Some of his later New York portraits feature a
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363:, painted by John Wollaston. Collection of the
305:Warner Lewis II and Rebecca Lewis, on loan to
578:"National Portrait Gallery collection record"
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22:was an English painter who specialised in
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242:That mocks devouring Time and Death,
123:now in the National Gallery of Art.
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770:18th-century American male artists
717:Weekley, Carolyn Jeanette (1976).
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239:BEHOLD the wond’rous Power of Art!
210:Mann Page and His Sister Elizabeth
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795:18th-century English male artists
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712:– via the Internet Archive.
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621:Maryland Gazette, March 15, 1753.
230:in 1753 and in a 1758 edition of
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245:Can Nature’s ev’ry Charm impart;
52:Anecdotes of Painting in England
172:Unidentified Royal Navy Officer
93:Unidentified Royal Navy Officer
765:18th-century American painters
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345:circa 1755. Collection of the
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174:, showing the distinctive eyes
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755:18th-century English painters
413:, Maryland planter and lawyer
411:Charles Carroll of Annapolis
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347:Virginia Historical Society
307:Virginia Historical Society
282:Museum of Fine Arts, Boston
215:Virginia Historical Society
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790:American portrait painters
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785:English portrait painters
723:. University of Delaware.
688:. In Turner, Jane (ed.).
396:Benedict Swingate Calvert
278:Detroit Institute of Arts
115:was produced after it by
109:National Portrait Gallery
26:and was active mostly in
684:Patrick, Darryl (1996).
430:Art Institute of Chicago
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500:National Gallery of Art
365:Baltimore Museum of Art
274:National Gallery of Art
775:American male painters
286:Brooklyn Museum of Art
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760:English male painters
691:The Dictionary of Art
325:Mount Airy Plantation
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59:Charles Willson Peale
28:British North America
780:Painters from London
670:Retrieved April 2011
658:Retrieved April 2011
636:Worcester Art Museum
458:Worcester Art Museum
437:Notes and references
339:William Randolph III
426:Portrait of a Woman
150:before arriving in
142:. He next moved to
134:before arriving in
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686:"Wollaston, John"
530:author, Unknown.
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105:George Whitefield
91:Early Wollaston:
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67:drapery painter
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506:on 12 May 2009
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585:. Retrieved
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539:. Retrieved
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504:the original
461:. Retrieved
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536:Answers.com
532:"Biography"
323:builder of
255:Robert Feke
148:West Indies
140:Marylanders
103:evangelist
749:Categories
710:1033647897
582:npg.org.uk
284:; and the
189:engravings
170:Detail of
152:Charleston
121:Royal Navy
222:merchants
200:Influence
193:landscape
136:Annapolis
113:engraving
101:Methodist
63:Rembrandt
38:Biography
24:portraits
587:21 April
379:Captain
144:Virginia
292:Gallery
185:fabrics
157:England
739:Art UK
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641:8 June
463:8 June
280:, the
276:; the
261:, and
44:London
32:Rococo
541:1 May
510:1 May
179:Style
741:site
706:OCLC
696:ISBN
643:2009
609:help
589:2009
563:help
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