Student Artwork Guide
Copyright This work is in the public domain. Thomas Bardwell died in 1767; copyright lasts 70 years after the artist’s death, so it ended in 1837.
In context
Mary Phipps — Thomas Bardwell
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 45. The artist lived to 63. 14 of the 48 dated works by this artist in our catalogue came earlier.
Shaded: the lifetime of Thomas Bardwell (1704–1767) ▲ this work, 1749 every dated painting, decade by decade
First works: up to 1748 Main working years: 1748–1757 Late works: from 1757
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/thomas-bardwell-mary-phipps-AQRNEZ-en/
Measured from the image
Main colour
Walnut #895013
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 54 works by this artist, of which 20 were looked at at least once. This painting ranks 10 of them, with 3.6% 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.
About this artwork
Mary Phipps — Thomas Bardwell
The painting Mary Phipps by Thomas Bardwell is a stunning example of 18th-century portraiture. Created in 1749, this oil on canvas piece is a testament to the artist's skill and attention to detail. As an expert in art and a salesman at https://AllPaintingsStore.com, I am delighted to delve into the intricacies of this artwork and explore its significance.
Thomas Bardwell was a British painter born in 1704. He established himself as a decorative painter and later focused on portrait painting, developing a style reminiscent of Thomas Hudson and Van Dyck. His work can be found in various collections, including the University of Oxford.
The Mary Phipps portrait showcases the subject's elegance and refinement. The woman is depicted sitting in a chair, wearing a yellow dress with a blue bow around her neck. Her long hair is styled in an intricate manner, and her expression is one of calmness and serenity. The background of the painting is simple, yet effective, allowing the viewer to focus on the subject.
The painting measures 76 x 64 cm, making it a substantial piece.
The use of oil on canvas allows for rich colors and textures.
The subject's attire and hairstyle are characteristic of the time period.
Handmade reproductions of this painting are available at https://AllPaintingsStore.com, allowing art enthusiasts to own a piece of history. Our talented oil painters recreate the artwork with precision and attention to detail, ensuring that every brushstroke is faithful to the original. For more information on Thomas Bardwell and his works, visit https://AllPaintingsStore.com. You can also explore the University of Oxford's collection, which features an impressive array of artworks, including pieces by renowned artists like Kazimir Severinovich Malevich.
The Mary Phipps portrait is a remarkable example of 18th-century portraiture, and its beauty and significance can be appreciated by art lovers around the world. Whether you are an avid collector or simply someone who appreciates fine art, this painting is sure to captivate and inspire.
Artist and museum
Thomas Bardwell, born in 1704, emerged from a family deeply rooted in the decorative arts rather than the established world of fine painting. His initial foray into artistry wasn’t through formal training but within the practical demands of his family's business in Bungay, Suffolk. He began by crafting painted panels – functional embellishments that nonetheless required a keen eye for composition and color. This early experience, though seemingly humble, laid a crucial foundation for his later success. It instilled in him a meticulous approach to craft and an understanding of the visual impact of imagery, even before he consciously aspired to be a portraitist. The earliest documented works, conversation pieces from 1736 – notably one potentially depicting the Brewster family of Beccles now held by the Geffrye Museum – offer glimpses into this formative period. These paintings, intimate scenes capturing familial life, reveal an emerging talent for characterization and narrative detail, hinting at a sensibility that would blossom in his more ambitious commissions.
Bardwell’s trajectory took a significant turn in 1746 when he secured a commission from the Artillery Company of Norwich to paint William Crowe, who was soon to become mayor. This wasn't merely another portrait; it represented a challenge to the established artistic order within the city. Until then, John Theodore Heins, a German-born artist, had held a virtual monopoly on civic portraiture in Norwich. Bardwell’s success in capturing Crowe’s likeness – and securing this prestigious commission – effectively broke that hold, marking him as a formidable new presence on the local art scene. This initial triumph led to a series of nine portraits for St Andrew's Hall in Norwich, solidifying his reputation and establishing a distinctive style favored by the city’s prominent citizens. He wasn’t simply painting faces; he was becoming an integral part of documenting Norwich society itself.
The 1740s and 50s saw Bardwell extend his reach to London, where he undertook a variety of portrait commissions. However, it was during this period that he ventured beyond straightforward representation, demonstrating an ambition for more complex allegorical works. Joshua Ward Receiving Money from Britannia (and bestowing it as charity on the needy), painted in 1748 and now residing within the Royal College of Surgeons’ collection, stands as a prime example. This painting isn't just a portrait of Dr. Joshua Ward; it’s a carefully constructed visual narrative. The symbolic figures of Britannia and Charity flanking Ward, coupled with the throng of grateful patients, elevate the work beyond mere likeness to a celebration of philanthropy and civic virtue. An engraving after this piece, likely by Bernard Baron, further disseminated his imagery and influence. This period reveals Bardwell's growing sophistication in using symbolism to imbue his portraits with deeper meaning, moving him away from purely descriptive representation towards works that actively engaged with moral and social themes.
Bardwell’s artistic journey wasn’t confined to the south of England. Between 1752 and 1753, he embarked on an extensive series of commissions in Yorkshire and Scotland, broadening his exposure to different patrons and regional styles. This period likely influenced his technique and further refined his ability to adapt to diverse aesthetic preferences. However, by 1759, Bardwell made the decision to settle permanently in Norwich. He became a central figure within the city’s artistic community, celebrated for his skill and dedication. An obituary published in a local newspaper lauded him as “an eminent portrait painter…who principally through the power of genius and dint of application, acquired a degree of perfection in his art.”
Bardwell’s impact extended beyond the canvas. In 1756, he published The Practice of Painting and Perspective Made Easy, a 64-page treatise dedicated to the Earl of Rochford. This work wasn't merely a technical manual; it reflected his own artistic philosophy and offered practical guidance for aspiring painters. It demonstrates a commitment to sharing his knowledge and promoting the art of painting beyond his immediate circle. According to a general history of Norfolk published in 1829, “the best of his portraits are at Langley,” with works by Turner and Carr also noted as holding historical subjects painted by Bardwell. While perhaps not achieving the widespread fame of some of his contemporaries, Thomas Bardwell carved out a significant niche for himself as a skilled portraitist, a breaker of artistic monopolies, and a thoughtful contributor to the discourse surrounding painting in 18th-century England. His legacy resides not only in the faces he captured but also in the enduring quality of his craftsmanship and his dedication to elevating the art of portraiture within his community.
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Look closely
Mary Phipps — Thomas Bardwell
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.
The luminance recorded for "Mary Phipps" by Thomas Bardwell is dark.
The colors in "Mary Phipps" by Thomas Bardwell have a balanced intensity.
To get a print of "Mary Phipps" by Thomas Bardwell, simply order it on its Fine Art Print page: a fine art print on cotton canvas or archival canvas paper.