Student Artwork Guide
Copyright This work is in the public domain. Henry Singleton died in 1839; copyright lasts 70 years after the artist’s death, so it ended in 1909.
In context
The Second Viscount Maynard — Henry Singleton
The original measures 75 × 62 cm (height × width), drawn here beside an adult of average height.
Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 73 at death.
Painted when the artist was 28. The artist lived to 73. 6 of the 14 dated works by this artist in our catalogue came earlier.
Shaded: the lifetime of Henry Singleton (1766–1839) ▲ this work, 1794 every dated painting, decade by decade
First works: up to 1792 Main working years: 1792–1800 Late works: from 1800
Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them
Pick one work above: name two things it shares with this one, and one thing that's different.
More works to set beside this one: originaluniqueart.com/en/art/similar/henry-singleton-the-second-viscount-maynard-AQSJKL-en/
Measured from the image
Main colour
Phthalo Green #2a2522
Catalogued palette
These colours inside the artist’s whole palette Find other paintings by colour
The ten leading countries
Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.
Together these works take 100.0% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 26 works by this artist, of which 14 were looked at at least once. This painting ranks 2 of them, with 11.8% of that attention. The same counts, month by month
Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.
Artist and museum
Born in Texas, United States of America
Born into the vibrant artistic tapestry of London in 1766, Henry Singleton was destined for a life defined by the brush and the palette. His early years were shaped by a profound familial connection to the arts; following the untimely loss of his father when he was just an infant, Singleton was raised under the watchful eye of his uncle, William Singleton. This mentorship provided more than just familial stability; it offered a direct lineage to the prestigious traditions of English miniature painting, having been trained under the esteemed Ozias Humphry. Growing up in an environment where art was the primary language—surrounded by uncles and sisters who were all recognized exhibitors at the Royal Academy—Singleton’s development was an organic progression of inherited skill and burgeoning individual talent.
As a young man, Singleton demonstrated a precocious command over both scale and subject. His formal education at the Royal Academy Schools began in his late teens, and by 1784, he had already secured the silver medal, signaling his arrival as a formidable talent. The pinnacle of his early academic recognition came in 1788, when his ambitious painting depicting John Dryden’s Alexander’s Feast earned him the prestigious gold medal. This achievement highlighted a period in his career where he sought to transcend the delicate confines of miniature work to tackle grand, sweeping historical and scriptural compositions. His ability to weave complex narratives from the Bible, Shakespeare, and contemporary history allowed him to command attention on the large-scale canvases demanded by the era's most significant institutions.
While his early ambitions leaned toward the monumental, Singleton’s professional journey was marked by a remarkable versatility that ensured his longevity in the competitive London art scene. He became a fixture of the Royal Academy, exhibiting approximately 300 works between 1784 and 1839. There is a poignant irony in his storied career: despite being commissioned by the Royal Academy in 1793 to paint a massive group portrait of forty academicians, he never attained the formal status of a member or an associate himself. Nevertheless, his presence was so constant and his skill so respected that he eventually became the Royal Academy's oldest living exhibitor, a testament to a lifetime of unwavering dedication to his craft.
His repertoire was as diverse as it was technically proficient, spanning several distinct modes of painting:
Portraiture: A mainstay of his career, where his ability to capture character and status made him a sought-after artist for the English elite.
Miniatures: Carrying on the family tradition, these intimate works showcased his precision and delicate touch.
Historical and Scriptural Works: Large-scale compositions that utilized dramatic lighting and narrative depth to explore religious and literary themes.
Beyond the Royal Academy, Singleton’s influence extended to the British Institution and the Society of British Artists, ensuring his work reached a broad spectrum of collectors and connoisseurs. His life came to a close in London in 1839, leaving behind a body of work that serves as a vital window into the aesthetic values of the late 18th and early 19th centuries. Through his portraits and historical scenes, Singleton captured not just the faces of his contemporaries, but the very spirit of an era defined by classical grandeur and the intimate beauty of the miniature.
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Look closely
The Second Viscount Maynard — Henry Singleton
Answer in your own words. There are no wrong answers here — only answers you can explain.
Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.
A download is available for "The Second Viscount Maynard": the artwork's Download page offers a high-resolution digital image download.
A print of "The Second Viscount Maynard" by Henry Singleton can be ordered directly on this page: a fine art print on cotton canvas or archival canvas paper.
The color analysis of "The Second Viscount Maynard" by Henry Singleton records a gentle contrast and a discordant palette harmony.
The color of "The Second Viscount Maynard" is muted in saturation and monochromatic in intensity.
You can order a hand-painted reproduction of "The Second Viscount Maynard" by Henry Singleton directly on this page: a hand-painted oil reproduction on linen canvas, made to order.
The diaporama of "The Second Viscount Maynard" can be watched on the artwork's Diaporama page.
"The Second Viscount Maynard" by Henry Singleton is proportioned as a portrait work of 75 x 62 cm.
"The Second Viscount Maynard" by Henry Singleton is recorded as deep_shadow, with a dark luminance.