Paper

Student Artwork Guide

Lady in Blue

Name Class Date

John Smibert, Lady in Blue (1735), Georgia Museum of Art. Public domain. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
John Smibert originaluniqueart.com/en/artists/john-smibert/
Artist’s dates
1688 – 1751
Painted
1735
Held at
Georgia Museum of Art originaluniqueart.com/en/museums/georgia-museum-of-art-athens/

In context

Lady in Blue — John Smibert

When was this painted?

  1. 1680
  2. 1690
  3. 1700
  4. 1710
  5. 1720
  6. 1730
  7. 1740
  8. 1750

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 63 at death.

Painted when the artist was 47. The artist lived to 63. 22 of the 28 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of John Smibert (1688–1751) ▲ this work, 1735 every dated painting, decade by decade

First works: up to 1726 Main working years: 1726–1734 Late works: from 1734

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

Compare with

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/john-smibert-lady-in-blue-D69433-en/

Colours

Measured from the image

    Main colour

    Phthalo Green #17161b

    Catalogued palette

    • #17161B
    • #737B90
    • #344159
    • #D2B4BE

    These colours inside the artist’s whole palette Find other paintings by colour

    Main colour name
    Phthalo Green
    Intensity
    Monochromatic How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Statement How much the colours differ in lightness and saturation across the picture.
    Harmony
    Balanced Harmony How well the colours work together, from clashing to fully unified.
    Brightness
    Deep_shadow How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Muted How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by John Smibert over the last twelve months — 3 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 84.6%
    2. 2 Mexico 7.7%
    3. 3 United States of America 7.7%

    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.

    The 10 most looked-at works by John Smibert

    1. 1 View of Boston, 1738 31.2%
    2. 2 Francis Brinley, 1729 18.8%
    3. 3 Sir Archibald and Lady Grant, 1727 12.5%
    4. 4 John Nelson, 1732 6.2%
    5. 5 The Continence of Scipio (after Nicholas Poussin), 1726 6.2%
    6. 6 Mrs. Francis Brinley and Son Francis, 1729 6.2%
    7. 7 Portrait of a Man, 1720 6.2%
    8. 8 Sir Francis Grand and His Family, 1718 6.2%
    9. 9 Lady Christian Dalrymple, Wife of Sir James Dalrymple, Bt, Daughter of Thomas, 6th Earl of Haddington 6.2%
    10. — Lady in Blue, 1735 this painting 0.0%

    Together these works take 99.7% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 36 works by this artist, of which 9 were looked at at least once. This painting has not been looked at yet in that time — it closes the list without a rank. 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.

    About this artwork

    Lady in Blue — John Smibert

    This portrait of an unidentified woman resembles many other portraits from the time, both British and American. Artistic exchange was common across the Atlantic Ocean. Upper-class colonial citizens traveled to London, where some had their portraits painted. British artists moved to America for their careers. The fact that we do not know where this portrait was painted is revealing and speaks to the thriving transatlantic cultural exchange during the colonial period.

    Artist and museum

    Artist

    John Smibert

    Born in Edinburgh, United Kingdom

    A Legacy of Colonial Portraiture

    John Smibert stands as a monumental figure in the history of American art, recognized as the first academically trained artist to bring his refined skills to the Thirteen Colonies. Born in Edinburgh, his journey from a young apprentice in Scotland to a celebrated portraitist in the New World is a narrative of profound artistic migration. His early years were shaped by the practicalities of craft, having been apprenticed to a house painter and plasterer before moving to London. It was in the vibrant artistic atmosphere of London that Smibert truly began to refine his vision, working as a coach painter and copyist, eventually studying under the esteemed Sir Godfrey Kneller at the Great Queen Street Academy. This rigorous academic foundation provided him with the technical prowess that would later define his career.

    His travels through Europe further enriched his aesthetic sensibilities. Between 1719 and 1722, Smibert journeyed to Italy, where he immersed himself in the study of the Old Masters. By copying works within the collection of the Grand Duke of Tuscany, he absorbed the nuances of light, shadow, and classical composition. This period of intense observation allowed him to develop a style characterized by meticulous detail and a masterful handling of chiaroscuro, creating portraits that possessed both physical accuracy and a deep, psychological resonance.

    The Arrival in America and Artistic Maturity

    The trajectory of Smibert's life changed irrevocably when he was enticed by Bishop Berkeley to accompany him to America. While the ambitious plan to establish a college in Bermuda never came to fruition, the move led Smibert to settle in Boston, where he would leave an indelible mark on the colonial landscape. In this new setting, he became a cornerstone of the burgeoning American art scene, establishing a tradition of portraiture that would influence generations of artists, including his son, Nathaniel Smibert.

    Smibert's work in Boston was marked by an ability to capture the dignity and social standing of his subjects. His portraits, such as those of Rev. Joseph Sewall and Richard Bill, are more than mere likenesses; they are carefully constructed studies of character and status. In these works, one can observe:

    The use of rich colors and textures that convey the elegance of 18th-century attire.

    A sophisticated command of light and shadow to imbue subjects with a sense of realism and depth.

    A balanced composition that often utilizes subtle gestures and background elements to suggest the subject's social position and inner contemplation.

    One of his most influential achievements remains Dean George Berkeley and His Entourage, also known as The Bermuda Group. This painting serves as a vital historical document, capturing a specific moment of colonial ambition and the interconnectedness of the Atlantic world. Through his brush, Smibert did not merely paint faces; he captured the very essence of an era, bridging the gap between European academic tradition and the emerging identity of colonial America.

    Museum

    Georgia Museum of Art

    On show in Athens, United States of America

    A Sanctuary of Light and Legacy in Athens

    Nestled within the vibrant, academic heart of Athens, Georgia, the

    Georgia Museum of Art

    stands as a profound testament to the enduring power of artistic expression. Since its inception, born from the generous Eva Underhill Holbrook Memorial Collection, this institution has evolved from a modest university treasure into the official state art museum of Georgia. To step inside is to enter a space where history breathes through every canvas and inspiration is woven into the very fabric of the architecture. The museum’s current home, located within the Performing and Visual Arts Complex, is a masterclass in modern design; significantly remodeled in 2011 by the renowned Gluckman Mayner Architects, the building utilizes soaring ceilings and an abundance of natural light to create a contemplative atmosphere. This intentional design ensures that every visitor, whether a seasoned scholar or a curious passerby, is enveloped in a luminous environment that maximizes viewing comfort and encourages a deep, emotional engagement with the masterpieces on display.

    An Odyssey Through American Identity

    The soul of the museum lies in its breathtakingly diverse collection, which offers a captivating journey through the stylistic evolution of American identity. For the art lover and collector alike, the galleries present an unparalleled odyssey through 19th and 20th-century American painting. One might find themselves lost in the evocative, rugged landscapes of

    Winslow Homer

    , where the salt spray of the Maine coastline feels almost tangible, or transported to the shimmering, energetic cityscapes of

    Childe Hassam

    , which capture the gilded dynamism of a burgeoning New York. The collection also serves as a vital narrative of the American experience, notably through the poignant social commentary found in

    Jacob Lawrence’s

    monumental

    Migration Series

    . This profound documentation of the Great Migration provides a rhythmic, visual heartbeat to the museum's mission of cultural understanding.

    Beyond the American narrative, the Georgia Museum of Art offers unexpected windows into the broader history of global artistry. The

    Samuel H. Kress Study Collection

    provides an intimate encounter with the echoes of Renaissance Italy, showcasing the meticulous craftsmanship and humanist ideals of masters such as

    Piero della Francesca

    and

    Andrea Mantegna

    . This scholarly treasure allows for a rare, close-up dialogue with the stylistic sophistication that defined an era of European innovation. Complementing these high-art traditions is a growing dedication to the aesthetics of the American South. The museum celebrates regional identity through exquisite southern decorative arts, featuring furniture crafted from native pecan and magnolia wood, alongside silver vessels adorned with intricate floral motifs. These objects are more than mere artifacts; they are tangible reminders of a rich cultural heritage, reflecting the craftsmanship and values that have shaped the Southern landscape for generations.

    A Living Oasis for Inspiration

    What truly distinguishes the Georgia Museum of Art is its role as an accessible beacon of culture, where the barriers to beauty are intentionally dismantled. With general admission remaining free, the museum fosters an inclusive environment where socioeconomic status never dictates one's access to inspiration. This spirit of engagement extends beyond the permanent galleries through a dynamic rotation of exhibitions that challenge and stimulate contemporary thought. For those seeking a moment of respite, the

    Jane and Harry Willson Sculpture Garden

    offers a verdant, tranquil oasis, allowing visitors to wander amidst contemporary sculptures set against lush greenery. Whether you are an interior designer seeking inspiration from the textures of historical textiles, a collector tracing the lineage of American modernism, or a local resident seeking quiet reflection, the museum remains a vital, living organism—a place where art does not merely exist but actively cultivates curiosity and celebrates the transformative beauty of the human spirit.

    Where to read more

    • The artist John Smibert originaluniqueart.com/en/artists/john-smibert/
    • The museum Georgia Museum of Art originaluniqueart.com/en/museums/georgia-museum-of-art-athens/
    • Similar works More works to compare originaluniqueart.com/en/art/similar/john-smibert-lady-in-blue-D69433-en/

    Find this online

    QR code linking to the download page for Lady in Blue

    originaluniqueart.com/en/art/download/john-smibert-lady-in-blue-D69433-en/

    Cite this artwork

    MLA
    Smibert, John. Lady in Blue. 1735, Georgia Museum of Art. https://originaluniqueart.com/en/art/john-smibert-lady-in-blue-D69433-en/
    APA
    Smibert, John (1735). Lady in Blue [Painting]. Georgia Museum of Art. https://originaluniqueart.com/en/art/john-smibert-lady-in-blue-D69433-en/
    Chicago
    John Smibert. Lady in Blue. 1735. Georgia Museum of Art. https://originaluniqueart.com/en/art/john-smibert-lady-in-blue-D69433-en/
    Harvard
    Smibert, John (1735) Lady in Blue. Georgia Museum of Art. Available at: https://originaluniqueart.com/en/art/john-smibert-lady-in-blue-D69433-en/

    Look closely

    Lady in Blue — John Smibert

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Look back at Richard Bill (1733), earlier in this guide. Name two things it shares with this work, and one that is different.
    4. John Smibert was about 47 when this was made. What in it looks like the work of an artist at that stage?
    5. What might the artist have wanted you to feel?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Questions & Answers

    How do contrast and harmony combine in "Lady in Blue"?

    The color analysis of "Lady in Blue" by John Smibert records a statement contrast and a balanced harmony harmony.

    Is there a slideshow for "Lady in Blue" by John Smibert?

    A slideshow is available: the Diaporama page of "Lady in Blue" by John Smibert.

    What color saturation does "Lady in Blue" by John Smibert have?

    The palette of "Lady in Blue" is muted in saturation.