{"id":28726,"date":"2023-10-27T12:00:30","date_gmt":"2023-10-27T19:00:30","guid":{"rendered":"https:\/\/www.howtopastel.com\/?p=28726"},"modified":"2023-10-27T12:00:32","modified_gmt":"2023-10-27T19:00:32","slug":"john-russell-portrait-of-george-de-ligne-gregory","status":"publish","type":"post","link":"https:\/\/www.howtopastel.com\/2023\/10\/john-russell-portrait-of-george-de-ligne-gregory\/","title":{"rendered":"John Russell – Portrait of George de Ligne Gregory"},"content":{"rendered":"\n

Occasionally, I stumble upon a pastel painting from the past that leaves me breathless. Today, I’m excited to share one such discovery with you \u2013 a portrait by the English artist John Russell (1745-1806) that’s in the Getty<\/a>. In this ‘close look’ blog post, we’ll take a deep dive into the intricate details of Russell’s work, with the hope of uncovering valuable insights along the way.<\/p>\n\n\n\n

Here’s the magnificent painting. One notable feature is the limited colour palette John Russell employed in this portrait. Whether by choice or due to the availability of pigments, the restricted use of colours plays a significant role in the impact of this powerful artwork.<\/p>\n\n\n\n\n\n\n\n

<\/div>\n\n\n\n
\"John<\/a>
John Russell, Portrait of George de Ligne Gregory, 1793, pastel on paper, laid on canvas, 75.9 x 63.2 cm 29 7\/8 x 24 7\/8 in, J.Paul Getty Museum, Los Angeles, USA<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

John Russell was  known for his extraordinary skill in pastel painting. His works were highly sought after by a fashionable clientele who admired his masterful tonal effects and virtuoso application of pastel. His technical prowess, honed through apprenticeship with Francis Cotes, one of the pioneers of pastel painting in England (and a founding member of the Royal Academy in 1768), allowed Russell to create captivating representations of his sitters. <\/p>\n\n\n\n

One of his notable works is this engaging portrait of George de Ligne Gregory, a painting that celebrated Gregory\u2019s appointment as High Sheriff of Nottinghamshire. As we examine the portrait in detail, you\u2019ll see for yourself Russell’s artistic prowess and his ability to capture the essence of his subjects.<\/p>\n\n\n\n

Let\u2019s look first at the hairline. It can be difficult to have us believe that the hair indeed grows out of the scalp. Russell does this easily. Notice the colours he uses along with whites and greys – the blue and pink.\u00a0\u00a0<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"John<\/a>
John Russell, Portrait of George de Ligne Gregory, 1793, pastel on paper, laid on canvas, 75.9 x 63.2 cm 29 7\/8 x 24 7\/8 in, J.Paul Getty Museum, Los Angeles, USA – detail of hairline<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

Now for the eyes – the windows to the soul! Look at the tiny pinprick of light he adds. Check out how he gives the eye volume, graduating from lighter to darker. Note too how pretty much none of the white of the eye is painted with the colour white. The eyes sit in the face, belong to the flesh around it, as do the eyebrows.<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"John<\/a>
John Russell, Portrait of George de Ligne Gregory, 1793, pastel on paper, laid on canvas, 75.9 x 63.2 cm 29 7\/8 x 24 7\/8 in, J.Paul Getty Museum, Los Angeles, USA – detail of eyes<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

Next – the nose, mouth, and particularly the skin. You can see the quality of this man\u2019s skin with the blue layer below and those squiggles and lines of veins and the wear and tear of life. His lips looked cracked. Notice the blue grey in the areas of mustache and beard – a quality of a man\u2019s face. If you struggle with noses, this would be a great one to copy!<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"John<\/a>
John Russell, Portrait of George de Ligne Gregory, 1793, pastel on paper, laid on canvas, 75.9 x 63.2 cm 29 7\/8 x 24 7\/8 in, J.Paul Getty Museum, Los Angeles, USA – detail of nose, mouth, and cheek<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

Let\u2019s move on to the cravat. There are three white areas in the painting (that beautifully help to lead our eyes around the portrait) and they all have a different quality of texture – revealing the thing they are representing. <\/p>\n\n\n\n

First there\u2019s the hair which we\u2019ve already seen, another is the inside of the hat which we will soon examine, and here, we feel the fabric that encircles his neck, the material adding warmth to the man and a flourish of fashion. Look at the way Russell creates a soft background on which to make marks to create the broken edge of the cravat. The sheen and softness. Notice too how the artist incorporates the pink and blue colours we saw earlier.<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"John<\/a>
John Russell, Portrait of George de Ligne Gregory, 1793, pastel on paper, laid on canvas, 75.9 x 63.2 cm 29 7\/8 x 24 7\/8 in, J.Paul Getty Museum, Los Angeles, USA – detail of cravat and chin<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

Let\u2019s go to the hat next. There\u2019s an extraordinary collection of materials represented – fur, the leather on inside edge, the satin interior, the hair powder dusting the edge.<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"John<\/a>
John Russell, Portrait of George de Ligne Gregory, 1793, pastel on paper, laid on canvas, 75.9 x 63.2 cm 29 7\/8 x 24 7\/8 in, J.Paul Getty Museum, Los Angeles, USA – detail of hat<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

Let\u2019s have a closer look. Look at the various stitches – the small ones attaching the leather to the outside of the hat, the long white ones attaching the leather to the satin interior, and then there\u2019s the thread that gathers together that inside material. Done with so little but says so much. As is true of much of this portrait.<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"John<\/a>
John Russell, Portrait of George de Ligne Gregory, 1793, pastel on paper, laid on canvas, 75.9 x 63.2 cm 29 7\/8 x 24 7\/8 in, J.Paul Getty Museum, Los Angeles, USA – detail of interior of the hat<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

There\u2019s not much to the hands holding the hat yet they are clearly hands with fingers and joints, ligaments and fingernails, the thumb holding onto the hat.<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"John<\/a>
John Russell, Portrait of George de Ligne Gregory, 1793, pastel on paper, laid on canvas, 75.9 x 63.2 cm 29 7\/8 x 24 7\/8 in, J.Paul Getty Museum, Los Angeles, USA – detail of the hands<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

Just a few more details.<\/p>\n\n\n\n

The sleeve cuff with its buttons and creases, the hint of the shirt beneath.<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"John<\/a>
John Russell, Portrait of George de Ligne Gregory, 1793, pastel on paper, laid on canvas, 75.9 x 63.2 cm 29 7\/8 x 24 7\/8 in, J.Paul Getty Museum, Los Angeles, USA – detail of the sleeve cuff<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

And what about the front of the double-breasted jacket with the material straining against the large buttons. There\u2019s very little to indicate this fashionable brown wool coat with black collar – yet there\u2019s enough there to let us know what we are looking at.<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"John<\/a>
John Russell, Portrait of George de Ligne Gregory, 1793, pastel on paper, laid on canvas, 75.9 x 63.2 cm 29 7\/8 x 24 7\/8 in, J.Paul Getty Museum, Los Angeles, USA – detail of the jacket<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

And oh, the black collar! Isn\u2019t it marvellous how the artist reveals the dusting of powder on the black collar and the shoulder of the coat (a similar residue to the one on the brim of the hat as we\u2019ve already seen)? (By the 1780s, young men were setting a trend by lightly powdering their natural<\/em> hair although by the time of this portrait, this application was used by older, more conservative men.)<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"John<\/a>
John Russell, Portrait of George de Ligne Gregory, 1793, pastel on paper, laid on canvas, 75.9 x 63.2 cm 29 7\/8 x 24 7\/8 in, J.Paul Getty Museum, Los Angeles, USA – detail of the collar<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

One last image for you – a part of the background with John Russell\u2019s\u00a0small signature top right. This reveals part of Russell\u2019s technique of smudging the pastel into the paper in broad areas to create a cohesive base on which to build up his linear marks.<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"John<\/a>
John Russell, Portrait of George de Ligne Gregory, 1793, pastel on paper, laid on canvas, 75.9 x 63.2 cm 29 7\/8 x 24 7\/8 in, J.Paul Getty Museum, Los Angeles, USA – detail of the background<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

And after all those details, let\u2019s have a look at the full portrait again. We see it differently, taking in all that we\u2019ve examined closely. We see a man, newly appointed to his position, sombrely yet richly dressed, sitting at ease yet with a sense of alertness and knowing.<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"John<\/a>
John Russell, Portrait of George de Ligne Gregory, 1793, pastel on paper, laid on canvas, 75.9 x 63.2 cm 29 7\/8 x 24 7\/8 in, J.Paul Getty Museum, Los Angeles, USA<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

As always, I\u2019d love to hear from you! What was your biggest takeaway looking at this portrait? What have you<\/em> noticed?\u00a0<\/p>\n\n\n\n

Until next time,<\/p>\n\n\n\n

~ Gail<\/p>\n\n\n\n

<\/div>\n\n\n\n

PS. A few other notable things about John Russell:<\/p>\n\n\n\n

Russell\u2019s deep understanding of pastel techniques and materials (he even experimented with pastel manufacturing, writing recipes on making the sticks), led him to publish \u201cThe Elements of Painting in Crayon,\u201d in 1780, one of the few treatises from the 1700s. Apparently it was considered a cornerstone for understanding the challenging medium of pastel.<\/p>\n\n\n\n

John Russell was elected as a member of the Royal Academy in 1788. He was also appointed as the Crayon Painter to George III, further solidifying his reputation as a distinguished artist.<\/p>\n\n\n\n

[As an aside, my brother-in-law gently ribs me, asking \u201cHow\u2019s the crayoning going?\u201d Now I can say I\u2019m in good Crayoning company!!]<\/em><\/p>\n\n\n\n

One more thing about John Russell\u2026.he was also an accomplished astronomer who painted studies of the moon! Check out this pastel 5 ft portrayal<\/a>!! And this extraordinary one<\/a>! <\/p>\n\n\n\n

<\/div>\n\n\n\n

PPS. You may enjoy one of my first close-up blog posts<\/a> of a similar type of portrait by Jean-Baptiste Perronneau from 1756. It’s another WOW portrait!<\/p>\n\n\n\n

<\/div>\n","protected":false},"excerpt":{"rendered":"

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