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170:, who is speculated to be Read’s teacher and introduction into the French artistic sphere. There she studied other works of art and improved her skills with little hindrance or instruction; it would have been hard for her to have been accepted into an academy class as a woman, let alone a foreigner whose family had a price on their heads for aiding and supporting a cause against the King of
226:. At the height of her career, her work was widely engraved, bringing her important artistic endorsement and commercial success. Read communicated with and submitted samples to the Society of Arts for their collection and approval of fixing pastels. However, her methods, when compared to those of Sebastien Jurine, were considered inferior as she used a different type of pastel than he.
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She remained in Rome until deciding to venture to
England in 1753, with the blessing of Albani - who managed to help her keep face regardless of her family’s past alignment in the war. This era was filled with a healthy stream of patronage and commissions. She attracted a distinguished circle of
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and with family friends fleeing to France, Read’s family was prompted to follow suit for their association and support of the
Jacobite cause through her uncle. Through their connections of the gentry, they were given sanctuary in Paris that same year and introduced to the painter
193:. While there, she became friends with members of the Roman Catholic Church, often commissioned to recreate master paintings in oil or pastel for those in high clerical positions. One of these faithful patrons,
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The
Society of Artists of Great Britain, 1760-1791, the Free Society of Artists, 1761-1783: a complete dictionary of contributors and their work from the foundation of the societies to 1791
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In 1764, Read was on the road back to Paris for commissioned portraits of Madame
Elisabeth through the Dauphin. Her work was shown by the Free Society (1761-1768) and the
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into their respective fold. Later, after a failed petition to the king, Read left to join the Royal
Academy and was expelled from the Society as consequence.
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723:(George Bell & Sons, 1907) pp. 208–9. A list of works exhibited by Catherine Read at the "Society of Artists" and the "Free Society of Artists".
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283:. She is reported as being in that country in 1775 and 1777, and as dying at sea near Madras. Her death is recorded as 15 December 1778.
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In 1771, she went to India to paint the portraits of the
English officers living there. She was accompanied by her niece,
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Anecdotes of painters who have resided or been born in
England;: with critical remarks on their productions;
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She also provided
Matronage opportunities for many other female artists such as Caroline Watson (1675-1757)
233:(1760-1772), of which she became an honorary member in 1769 along with the two other female pastel artists,
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on 3 February 1723, to
Alexander and Elizabeth Read, and one of thirteen children of an affluent
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and James Watson, and a pair of plates, by J. Finlayson, of the celebrated
Gunning sisters, the
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New pastel artists rose into the public’s view and Read no longer commanded such a following.
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714:(London: Hodder & Stoughton, 1905) pp. 61 & 84. 3 portraits by Catherine Read.
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Read's talent for portraiture was highly regarded in her day, and was the subject of an
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Chadwick, Whitney. Women, Art, and Society. Londres: Thames & Hudson, 2012. Print.
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Femmes artistes à l’âge classique. Arts du dessin – peinture, sculpture, gravure
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artist. Born in the early 18th century, she is most known for her work as a
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in 1750 along with a majority of the Jacobites that had sought refuge in
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Neil Jeffares, Dictionary of Pastellists Before 1800 (2016): 1-17
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656:"Royal "Matronage" of Women Artists in the Late-18th Century"
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Seth, Catriona, "Le parcours singulier de Katherine Read",
275:, a clever young artist, who there married, in 1777, (Sir)
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Miss Katherine Read, Court Paintress, A. Francis Steuart,
109:. From 1760 she exhibited almost annually with either the
197:, allowed Read to copy some of the portraits he owned by
457:"Jacobitism and Art after 1745: Katherine Read in Rome"
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Some works by Read have at one time been attributed to
201:, which ultimately led the man to sit for her himself.
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Portrait of Elizabeth, Duchess of Argyll and Hamilton?
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Dictionary of pastellists before 1800 (online edition)
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This period was not to last, however, as she fled to
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299:, and in 1765 one of the latter with his brother,
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93:. She was for some years a fashionable artist in
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424:Scottish Painting, Past and Present, 1620-1908
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310:. Many of her portraits were well engraved by
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147:Sir John Wedderburn, 5th Baronet of Blackness
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85:; 3 February 1723 - 15 December 1778) was a
306:On resuming her practice, Read settled in
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625:Edwards, Edward; Walpole, Horace (1808).
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502:, Vol. 2, No. 5 (Oct., 1904), pp. 38-46 (
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355:to the soft crayon of the graceful Read.
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137:family. She received her education from
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461:Journal for Eighteenth-Century Studies
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353:Let candid Justice our attention lead,
772:4 artworks by or after Catherine Read
333:has been noted as one of her finest.
291:In 1763, she exhibited a portrait of
113:, the Free Society of Artist, or the
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157:Artistic education in Paris and Rome
807:18th-century Scottish women artists
427:. General Books LLC. pp. 49–.
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237:and Mary Black, in response to the
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473:10.1111/j.1754-0208.2004.tb00287.x
455:MORGAN, MARGERY (1 October 2008).
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764:(attributed to Catherine Read -
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543:Neil Jeffares (12 August 2016).
402:Dictionary of National Biography
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145:. Her mother was the sister of
111:Incorporated Society of Artists
802:18th-century Scottish painters
631:. Leigh and Sotheby. pp.
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500:The Scottish Historical Review
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256:until 1766, when she moved to
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827:British portrait miniaturists
421:Caw, Sir James Lewis (2009).
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252:Her London residence was in
205:Career and court commissions
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847:18th-century women painters
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832:Scottish portrait painters
654:Strobel, Heidi A. (2005).
518:Rostek, Charlotte (2022),
389:O'Donoghue, Freeman Marius
180:Maurice Quentin de la Tour
161:When the war ended at the
139:Maurice Quentin De La Tour
16:British artist (1723–1778)
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520:Scottish Women Artists
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331:Lady Georgiana Spencer
297:infant Prince of Wales
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758:(Art Renewal Center)
752:at Wikimedia Commons
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320:Countess of Coventry
264:Later life and death
215:Frances Moore Brooke
182:and Louis Blanchet.
149:, who fought in the
812:Artists from Dundee
660:Woman's Art Journal
545:"Jurine, Sebastien"
222:clients, including
213:Read's portrait of
717:Graves, Algernon.
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281:governor of Madras
231:Society of Artists
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163:Battle of Culloden
842:Wedderburn family
748:Media related to
699:Further Knowledge
611:Project Gutenberg
574:"Read, Katherine"
434:978-1-150-59407-6
316:Duchess of Argyll
279:, baronet, later
254:St. James's Place
243:Angelica Kauffman
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397:Lee, Sidney
135:Forfarshire
786:Categories
666:(2): 3–9.
247:Mary Moser
241:accepting
121:Early life
680:0270-7993
481:1754-0194
391:(1896). "
295:with the
143:Edinburgh
107:miniature
83:Katherine
557:20 April
526:, p. 7,
504:abstract
318:and the
131:Scotland
87:Scottish
54:Scotland
705:Sparrow
688:3598091
399:(ed.).
343:epistle
176:Ireland
103:crayons
776:Art UK
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395:". In
337:Legacy
127:Dundee
105:, and
95:London
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684:JSTOR
577:(PDF)
548:(PDF)
287:Works
191:Paris
778:site
676:ISSN
641:2010
588:2016
559:2020
528:ISBN
477:ISSN
442:2010
429:ISBN
245:and
187:Rome
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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