Charles d'Agar was a notable portrait painter whose life and career were shaped by the religious and political turbulence of late 17th and early 18th century Europe. Born into an artistic family in Paris, his Huguenot faith would ultimately lead him away from his homeland, forging a path that saw him work in England and Denmark, leaving behind a legacy of elegant and insightful portraiture characteristic of the Baroque era. His story is one of talent, resilience, and adaptation in a world of shifting allegiances and artistic tastes.
Early Life in Paris and Artistic Heritage
Charles d'Agar was born in Paris around 1669. He was the son of Jacques d'Agar, a respected portrait painter who had himself achieved considerable success. The elder d'Agar had been a pupil of Jacob Ferdinand Voet and was admitted to the prestigious Académie Royale de Peinture et de Sculpture in Paris in 1675. This environment undoubtedly provided young Charles with his earliest exposure to the world of art and the techniques of portrait painting. Growing up in the vibrant artistic milieu of Paris, he would have been aware of the dominant trends in French art, particularly the grand and formal style of court portraiture championed by artists like Hyacinthe Rigaud and Nicolas de Largillière, who were rising to prominence during this period.
The d'Agar family were Huguenots, French Protestants who faced increasing persecution in Catholic France. This religious affiliation was a defining factor in their lives. The artistic training Charles received would have been grounded in the academic traditions of the time, emphasizing draftsmanship, composition, and the ability to capture a likeness that was both accurate and flattering. His father's own career, which included painting members of the French court, would have served as a direct model and source of instruction.
The Huguenot Exodus and Arrival in England
The political climate for Huguenots in France deteriorated sharply with King Louis XIV's increasing intolerance, culminating in the Revocation of the Edict of Nantes in 1685. This edict had, for nearly a century, granted substantial rights to Calvinist Protestants in a nation considered essentially Catholic. Its revocation stripped Huguenots of their protections, leading to a mass exodus of skilled artisans, intellectuals, and artists, including the d'Agar family. Jacques d'Agar, along with his son Charles, sought refuge in England, a common destination for fleeing Huguenots.
Their arrival in England, likely shortly after 1681 when Jacques was expelled from the Académie due to his religion, or certainly by 1685, placed them in a new artistic environment. London was becoming a significant cultural center, and there was a demand for skilled portraitists. The English court and aristocracy were keen patrons of the arts, and portraiture was particularly valued as a means of recording lineage and status. Charles d'Agar would have found himself among a community of émigré artists, all seeking to establish themselves in this new land.
A Danish Interlude: Court Painter in Copenhagen
While Jacques d'Agar established himself in England, eventually becoming a painter to the courts of Charles II and James II, he was later invited to Denmark. Around 1684, Jacques d'Agar became the principal court painter to King Christian V of Denmark in Copenhagen. It is highly probable that Charles accompanied his father or followed him soon after, as records indicate Charles d'Agar also worked extensively in Copenhagen. He continued the portrait tradition his father had established at the Danish court, painting members of the royal family and the Danish nobility.
This period in Denmark was significant for Charles. It allowed him to further hone his skills and build his reputation independently, yet under the umbrella of his father's established connections. The Danish court, like others in Europe, favored a style of portraiture that conveyed authority and elegance. Charles d'Agar's French training, combined with his developing personal style, was well-suited to these requirements. His works from this period would have reflected the prevailing Baroque tastes, characterized by rich colors, dramatic lighting, and a focus on the dignified presentation of the sitter. He remained in Denmark for a number of years, even after his father returned to England.
Return to England and Mature Career
Charles d'Agar eventually returned to England, likely in the late 1690s or early 1700s, and settled in London. By this time, Sir Godfrey Kneller, a German-born painter, was the dominant figure in English portraiture, having succeeded Sir Peter Lely. Kneller's studio was prolific, and his style set the standard for much of English portrait painting. D'Agar, alongside other talented painters like the Swedish-born Michael Dahl and the German-born John Closterman, sought to carve out a niche for himself in this competitive environment.
D'Agar established a successful practice in London, painting portraits of the gentry and aristocracy. His style, while influenced by the prevailing English taste shaped by Kneller, retained a certain French elegance and refinement. He was known for his ability to capture a good likeness and for the quality of his execution, particularly in the rendering of fabrics and details. His portraits often convey a sense of quiet dignity and psychological presence. He resided in the fashionable area of Covent Garden, a hub for artists and intellectuals.
Artistic Style and Notable Works
Charles d'Agar's artistic style is best understood within the context of late Baroque portraiture. His French training instilled in him a concern for elegant composition and refined execution. His time in Denmark and England exposed him to different courtly traditions and the prevailing tastes of patrons in those countries. His portraits typically feature sitters in fashionable attire, often against simple or subtly indicated backgrounds, ensuring the focus remains on the individual.
While a comprehensive catalogue of all his works is challenging to assemble, several attributed portraits survive, showcasing his skill. For instance, portraits of members of the Pye family of Faringdon are attributed to him, demonstrating his engagement with English gentry. A notable example often cited is his "Portrait of Thomas Wentworth, 1st Earl of Strafford (of the second creation), and his Family," a group portrait that displays his ability to handle complex compositions and convey familial relationships. Other works, such as "Portrait of a Gentleman, traditionally identified as John Dormer," or various "Portrait of a Lady" examples, reveal his consistent quality.
His handling of textures, such as silks, velvets, and lace, was adept, adding to the richness and verisimilitude of his paintings. The poses of his sitters are generally dignified and composed, reflecting the social status and decorum of the era. While perhaps not as flamboyant as some of his continental contemporaries like Rigaud, d'Agar's work possesses a subtlety and sensitivity that appealed to his clientele. He was less of a factory-style producer than Kneller, allowing for a more personal touch in his canvases.
Contemporaries and the Artistic Milieu
Charles d'Agar operated within a vibrant and international artistic community. In Paris, during his formative years, the towering figures of French Baroque portraiture were Charles Le Brun (though his main influence was waning by d'Agar's youth), Hyacinthe Rigaud, and Nicolas de Largillière. These artists set a standard for opulent and authoritative royal portraiture that influenced painters across Europe.
Upon arriving in England, the legacy of Sir Peter Lely, who had died in 1680, was still palpable. Lely, of Dutch origin, had defined English court portraiture for a generation. Willem Wissing, another Dutch artist, had a successful, albeit short, career in England until his death in 1687. The dominant force during d'Agar's mature career in London was undoubtedly Sir Godfrey Kneller. Kneller's studio produced a vast number of portraits, and his style, characterized by its efficiency and confident brushwork, was widely imitated.
Michael Dahl, a Swedish painter who settled in England around the same time as Kneller, offered a slightly softer, more introspective alternative and was a significant rival. John Closterman, born in Osnabrück, also enjoyed considerable patronage in England, sometimes collaborating with Wissing and later working independently. Other Huguenot artists found refuge and work in England, contributing to the richness of its cultural life, such as the engraver Simon Gribelin or the painter Simon Dubois, who, like d'Agar, specialized in portraits. The artistic scene was thus a melting pot of native talent and émigré artists, each contributing to the evolving character of British art.
Further afield, in Denmark, d'Agar would have been aware of other artists serving the Danish court, though his father and he were principal painters. The artistic connections between European courts meant that styles and influences travelled, and painters often had international careers. For instance, the French sculptor Robert Le Lorrain was a contemporary active in Paris, as was Antoine Coysevox, whose sculptural portraits mirrored the grandeur sought in painted ones. Alexis Simon Belle was another French portraitist whose career overlapped with d'Agar's, primarily in France and at the Jacobite court in exile.
The Challenge of Attribution and Identity
It is important to note that the historical record can sometimes lead to confusion between individuals with similar names or whose biographies become intertwined over time. The Charles d'Agar discussed here, the portrait painter (c. 1669 – c. 1723), son of Jacques d'Agar, is distinct from other figures named Charles Agar or Agard who appear in different contexts and centuries.
For example, Charles Agar, 1st Earl of Normanton (1736–1809), was an Irish peer and Archbishop of Dublin in the Church of Ireland, a prominent figure in ecclesiastical and political life in Ireland, known for his building projects and involvement in Irish parliamentary affairs. His life and contributions are entirely separate from those of the painter Charles d'Agar.
Similarly, the 20th-century British Surrealist artist Eileen Agar (1899–1991) is another distinct individual, known for her paintings, collages, and objects, and her association with artists like Paul Nash, André Breton, and Paul Éluard. Her work belongs to a completely different artistic movement and era.
Likewise, Charles-Jean Agard (1866-1950) was a French painter known for his post-impressionistic landscapes and floral still lifes, sometimes showing an influence of Japonisme, such as in a work like "Cherry Branch." His artistic concerns and style are far removed from the Baroque portraiture of Charles d'Agar.
These distinctions are crucial for art historical accuracy. The Charles d'Agar who concerns us here is firmly rooted in the late 17th and early 18th-century tradition of portrait painting, a Huguenot émigré who navigated the artistic worlds of Paris, Copenhagen, and London.
Legacy and Art Historical Significance
Charles d'Agar's legacy lies in his contribution to the tradition of Baroque portraiture in England and Denmark. As a Huguenot émigré, his career exemplifies the diaspora of talent that enriched the cultural life of Protestant Europe following the Revocation of the Edict of Nantes. He successfully adapted his French artistic training to the tastes and demands of different national contexts, demonstrating both skill and versatility.
While he may not have achieved the overarching dominance of a figure like Kneller in England, d'Agar maintained a consistent practice and produced portraits of quality and refinement. His works provide valuable visual records of the gentry and aristocracy of his time, capturing not only their likenesses but also the sartorial fashions and social bearing of the era. His paintings are found in various private and public collections, attesting to his contemporary reputation.
His significance also lies in being part of a generation of skilled European-trained artists who contributed to the development of portrait painting in England before the rise of a strong native school in the mid-18th century with figures like William Hogarth, Joshua Reynolds, and Thomas Gainsborough. These émigré artists, including d'Agar, helped to sustain a high level of craftsmanship and sophistication in British art.
Conclusion
Charles d'Agar's life journey from Paris to London, via Copenhagen, reflects a period of profound religious and political upheaval in Europe. As a Huguenot artist, he, like many others, was forced to seek new opportunities and patrons outside his native France. He successfully navigated these challenges, establishing himself as a respected portrait painter in both Denmark and England. His work, characterized by its Baroque elegance, technical competence, and sensitive portrayal of his sitters, forms a noteworthy part of the artistic landscape of the late 17th and early 18th centuries. He remains a figure worthy of study, representing both the personal resilience of an émigré artist and the broader cultural exchanges that shaped European art history. His portraits continue to offer a window into the personalities and societal values of a bygone era.
