Bartholomew Dandridge, an English painter active during the first half of the eighteenth century, carved a notable niche for himself in the bustling art scene of London. Born in 1691 in the village of Tandridge, Surrey, he emerged during a period of significant transition in British art, as the influence of foreign-born court painters began to wane and a distinctly British school of portraiture started to flourish. Dandridge's contributions, particularly his adeptness with the "conversation piece," mark him as an important figure in this evolving landscape, capturing the likenesses and social aspirations of his clientele with a delicate touch and keen observational skill.
His artistic journey formally began in London, a city rapidly becoming a major European cultural hub. The environment was ripe for aspiring artists, and Dandridge sought training at one of the most prestigious, albeit relatively new, institutions of the time.
Early Training and Artistic Formation
The foundation of Bartholomew Dandridge's artistic career was laid at Sir Godfrey Kneller’s Academy of Painting and Drawing, located in Great Queen Street, Covent Garden, London. Sir Godfrey Kneller, a German-born artist who had become the dominant force in English portraiture since the late seventeenth century, established this academy around 1711. It was one of the first significant attempts in England to provide a structured environment for art education, moving away from the traditional master-apprentice system, though it still bore resemblances to it.
At Kneller's Academy, Dandridge would have been immersed in a curriculum focused on drawing from casts of classical sculptures and, importantly, from life models. This emphasis on academic drawing was crucial for developing the skills necessary for portraiture, particularly in accurately rendering human anatomy and capturing individual likenesses. Kneller himself, though his later work is sometimes criticized for its formulaic nature due to high demand, was a master of capturing the grandeur and status of his sitters. Students like Dandridge would have absorbed aspects of Kneller's style, characterized by its confident brushwork and dignified portrayal of subjects, though many, including Dandridge, would later develop more intimate and nuanced approaches.
The artistic milieu in London at this time was vibrant. While Kneller was the leading figure, other portraitists like Michael Dahl, a Swedish-born contemporary of Kneller, also enjoyed significant patronage. Jonathan Richardson the Elder was another prominent English-born painter and influential writer on art theory, whose ideas on the dignity of portraiture and the importance of "the speaking likeness" would have been part of the intellectual backdrop for young artists. Dandridge's training under Kneller provided him with the technical proficiency and professional connections to launch his own career in a competitive field.
The Rise of the Conversation Piece
One of the most significant developments in British art during the early to mid-eighteenth century was the popularization of the "conversation piece." This genre, which Bartholomew Dandridge particularly excelled in, depicted small, informal groups of figures, often families or friends, engaged in genteel activities, typically in domestic interiors or, as frequently seen in Dandridge's work, elegant outdoor settings. These paintings offered a more relaxed and intimate alternative to the grand, formal state portraits that had dominated the previous era.
The rise of the conversation piece reflected broader social changes in Britain. A growing and increasingly affluent middle class, along with the landed gentry, sought to commemorate their families, their property, and their leisurely pursuits in a manner that was less ostentatious than aristocratic portraiture but still conveyed status and refinement. Artists like William Hogarth were pioneers in this genre, infusing their group portraits with narrative and moral undertones. Other notable practitioners included Gawen Hamilton, Charles Philips, and later, Arthur Devis, each bringing their own stylistic interpretations to these charming scenes.
Dandridge's contribution to this genre was marked by a certain elegance and a gentle observation of human interaction. His large group portraits were not merely collections of individual likenesses but carefully composed scenes that hinted at relationships and social dynamics. The settings, often idyllic parklands or gardens, provided a picturesque backdrop that enhanced the overall harmony and sophistication of the compositions. This ability to manage complex group arrangements while maintaining individual characterization was a hallmark of his skill.
Dandridge's Artistic Style and Approach
Bartholomew Dandridge's artistic style is characterized by its delicacy, attention to detail, and a sensitive rendering of his sitters. While he was capable of producing single portraits of considerable merit, his particular strength lay in the aforementioned conversation pieces. In these, he demonstrated a fine ability to orchestrate multiple figures within a cohesive composition, often using natural landscapes as more than just a backdrop, but as an integral part of the scene's atmosphere.
His figures are typically portrayed with a degree of fashionable elegance, their costumes rendered with care, showcasing the textures of silks, satins, and lace. Dandridge paid close attention to the interplay between figures, capturing subtle gestures and glances that suggest a narrative or a specific social occasion. This contrasts with some of the more rigid and formulaic portraiture of the time, lending his work a sense of life and immediacy. His palette was generally refined, with an eye for harmonious color combinations that contributed to the overall pleasing effect of his paintings.
Compared to the robust, often theatrical style of his teacher, Sir Godfrey Kneller, Dandridge's work often exhibits a softer, more Rococo-influenced sensibility, particularly in the fluid lines and graceful poses of his figures. While perhaps not possessing the psychological depth of a Hogarth or the later grandeur of a Reynolds, Dandridge's portraits have a distinct charm and provide valuable visual records of the gentry and professional classes of his time. His handling of light is often subtle, creating a gentle modeling of forms and contributing to the serene mood of many of his works.
Notable Works and Their Significance
Several works by Bartholomew Dandridge stand out and help to define his artistic contribution. Among his most well-known individual portraits is the Portrait of William Cunningham, painted in the 1730s and now housed in Somerset House, London. This work likely exemplifies his ability to capture a sitter's likeness and status with competence and a degree of fashionable presentation typical of the period.
Another significant work is his portrait of James Gibbs, Architect. James Gibbs was a highly influential architect of the era, known for masterpieces such as St Martin-in-the-Fields in London and the Radcliffe Camera in Oxford. Dandridge's portrayal of Gibbs would have been a prestigious commission, and the painting itself serves as an important document of a key figure in British architectural history. It also suggests Dandridge's engagement with the wider cultural and intellectual circles of London.
Perhaps one of his most discussed paintings today is A Young Girl with an Enslaved Servant and a Dog, dated to around 1725 and now in the collection of the Yale Center for British Art. This painting is a poignant example of a conversation piece that also touches upon complex social realities of the time, including the presence of enslaved individuals in affluent British households. The composition, depicting a young white girl, richly dressed, alongside a young Black servant, often adorned in a manner that signified exoticism and servitude, invites contemporary analysis regarding themes of race, status, and empire in eighteenth-century Britain. The inclusion of symbolic elements, such as fruit or pets, was common in such works, adding layers of meaning. Dandridge's handling of this sensitive subject matter, within the conventions of his time, provides a valuable historical and art historical artifact.
His group portraits, often depicting families like the Price family or the Wadham Wyndham family, showcase his skill in arranging multiple figures in harmonious and engaging compositions, often set against lush, idealized landscapes. These works celebrated familial bonds and social standing, key concerns for his patrons.
Contemporaries and the Artistic Landscape
Bartholomew Dandridge operated within a dynamic and competitive artistic landscape in London. His teacher, Sir Godfrey Kneller, remained a towering figure even in his later years, and his influence was pervasive. However, a new generation of British-born and foreign-born artists was emerging, each contributing to the diversification of styles and genres.
William Hogarth was undoubtedly one of the most innovative and influential artists of the period. While also a skilled portraitist and a master of the conversation piece, Hogarth was renowned for his "modern moral subjects" – satirical narrative series that critiqued contemporary society. His robust realism and narrative drive set him apart.
Other portraitists who were Dandridge's contemporaries included Joseph Highmore, known for his sensitive portraits and his series of paintings illustrating Samuel Richardson's novel Pamela. Allan Ramsay, a Scottish painter who later became a principal rival to Joshua Reynolds, was beginning to establish his reputation for elegant and refined portraiture. Thomas Hudson, who would later become the master of Joshua Reynolds, was another significant portrait painter of the era, known for his solid, if sometimes conventional, likenesses.
The French painter Philip Mercier, who worked in England for a significant period, also specialized in conversation pieces and genre scenes, often with a charming, Rococo lightness that found favor. Jean-Baptiste van Loo, another French artist, enjoyed considerable success in London during the 1730s and 40s, bringing a sophisticated continental style that influenced local painters. Arthur Devis became particularly known for his distinctive, slightly stiff but meticulously detailed small-scale conversation pieces, often depicting gentry on their estates. Charles Jervas, who succeeded Kneller as Principal Painter to the King, was another prominent figure, though his reputation has perhaps faded more than some of his contemporaries. Even the older Jonathan Richardson continued to paint and write, exerting influence through his theories as much as his art.
This environment of diverse talents and evolving tastes meant that artists like Dandridge had to find their particular strengths. His specialization in elegant group portraits and his ability to capture a pleasing likeness ensured him a steady stream of commissions.
The Dandridge Family Context
While Bartholomew Dandridge the painter established his career in London, the Dandridge family name also had a presence in other spheres, including colonial America. It's important to distinguish the painter from other notable individuals named Dandridge, particularly those connected with Virginia. For instance, a Captain Bartholomew Dandridge (possibly a relative, though precise connections can be complex to trace without detailed genealogical records specific to the painter's immediate line) was active in colonial Virginia, involved in naval affairs and governance, and was a contemporary. This colonial branch of the Dandridge family would later include Martha Dandridge Custis Washington, the wife of George Washington.
The painter Bartholomew Dandridge, however, appears to have remained centered in England, specifically London, where his artistic career flourished. His family background in Surrey provided him with a certain standing, but his success was primarily built upon his artistic talents and his ability to navigate the London art market. The fact that his descendants in America played significant roles in the colonies and the subsequent revolution speaks to the broader social mobility and transatlantic connections of many English families during this period. However, for Bartholomew Dandridge the artist, his primary legacy lies in his contributions to British art, particularly his refined portraiture. He also reportedly participated in the management of family property, indicating a life that balanced artistic pursuits with other responsibilities, a common scenario for individuals of some means in that era.
Later Career and Legacy
Bartholomew Dandridge continued to paint throughout the 1730s and 1740s, maintaining a successful practice. However, as the mid-eighteenth century approached, new artistic talents began to emerge who would come to define the next era of British painting. Figures like Joshua Reynolds and Thomas Gainsborough, who rose to prominence from the 1750s onwards, brought new levels of ambition, psychological insight, and painterly bravura to British portraiture, eventually overshadowing many of the artists of Dandridge's generation.
Dandridge passed away in London around 1754 or 1755. His work, while perhaps not reaching the revolutionary heights of some of his contemporaries or successors, holds an important place in the narrative of early to mid-eighteenth-century British art. He was a skilled and sensitive practitioner of portraiture, particularly adept at the conversation piece, a genre that perfectly captured the spirit and aspirations of the rising gentry and professional classes.
His paintings offer valuable insights into the social customs, fashions, and self-perception of his sitters. Works like A Young Girl with an Enslaved Servant and a Dog also provide crucial, if sometimes uncomfortable, visual evidence of the complexities of British society during a period of burgeoning imperial power. Today, his works are found in significant public collections, including the Yale Center for British Art, Tate Britain, and various regional galleries in the UK, allowing for continued study and appreciation.
Conclusion
Bartholomew Dandridge was a significant English portrait painter of the early Georgian period. Trained in the tradition of Kneller, he developed a distinct style characterized by elegance, fine detail, and a particular aptitude for the increasingly popular "conversation piece." His works capture the likenesses of his patrons with a gentle charm and provide a window into the social world of eighteenth-century England.
While he may have been succeeded by artists of even greater renown, Dandridge's contribution to the development of British portraiture is undeniable. He successfully navigated the London art world, producing a body of work that pleased his clients and reflected the tastes of his time. His ability to depict individuals and family groups with grace and a sense of informal interaction ensures his place among the notable painters of an era that saw British art gain new confidence and distinctiveness. His paintings remain not only as artistic achievements but also as important historical documents, reflecting the society, culture, and even the uncomfortable truths of the period in which he lived and worked.
