The annals of art history are replete with figures whose careers, though luminous, were tragically cut short, leaving behind a tantalizing glimpse of what might have been. John Greenhill (c. 1642 – 1676) stands as a poignant example of such a talent within the vibrant artistic milieu of Restoration England. A prodigious student of the pre-eminent court painter Sir Peter Lely, Greenhill rapidly absorbed his master's techniques and developed a distinctive flair, particularly in the medium of pastels. His life, however, was as tumultuous as his talent was evident, marked by a bohemian spirit that ultimately led to his untimely demise. This exploration delves into the life, work, artistic context, and enduring, albeit melancholic, legacy of John Greenhill, a painter once hailed as one of English art's most promising figures.
Early Life and Artistic Inclinations
The precise birth year of John Greenhill is subject to some scholarly debate, with dates ranging from 1640 to as late as 1649. However, a consensus often settles around circa 1642. He was born in Orchardleigh, Somerset, though some sources indicate Salisbury as his birthplace. His father, also named John Greenhill, held the respectable position of registrar of the diocese of Salisbury and was a man of some standing, being the eldest son of Henry Greenhill of Steeple Ashton. This background suggests a family of reasonable means and education, which might have facilitated young John's early artistic pursuits, though specific details of his initial training remain somewhat obscure.
What is clear is that by the early 1660s, certainly by 1662, Greenhill had made his way to London, the burgeoning cultural and political heart of a newly restored monarchy. The capital was a magnet for aspiring artists, offering opportunities for patronage and study that were unparalleled elsewhere in England. It was here that Greenhill's artistic journey would truly begin, under the tutelage of the most dominant figure in English portraiture of the era, Sir Peter Lely. The decision to apprentice with Lely was a significant one, placing Greenhill at the very epicenter of fashionable art production.
Under the Wing of Sir Peter Lely
Sir Peter Lely (born Pieter van der Faes in Soest, Westphalia) had, by the 1660s, firmly established himself as the successor to Sir Anthony van Dyck, who had died in 1641. Lely's studio was a bustling enterprise, catering to the demands of the Royal Court and the aristocracy. His style, characterized by a rich palette, elegant poses, and a certain languid sensuality, defined the visual culture of Charles II's reign. For an aspiring painter like Greenhill, Lely's studio was the premier academy of its time in England.
Greenhill proved to be an exceptionally gifted pupil. He quickly mastered Lely's manner, demonstrating a remarkable ability to replicate his master's sophisticated handling of paint, his understanding of fabric and texture, and his approach to capturing a likeness that was both flattering and characterful. Contemporary accounts, notably those by George Vertue, the antiquarian and engraver whose notebooks are a vital source for the period, suggest that Lely himself recognized Greenhill's extraordinary talent. Indeed, some sources claim Lely grew somewhat wary, even jealous, of his pupil's rapid advancement and prodigious skill, a testament to Greenhill's innate abilities. This period of intense learning and practice laid the foundation for Greenhill's own burgeoning career.
Emergence of an Independent Artist
While Greenhill initially emulated Lely's style closely, as was common for apprentices, he soon began to develop his own artistic voice. His early independent works, while still bearing the imprint of his master, started to exhibit a distinct character. Some critics have described his earliest portraits as possessing a certain "coarseness" or robustness, which gradually gave way to greater refinement and delicacy as his experience grew. This evolution is a natural part of any artist's development, but in Greenhill's case, it was compressed into a tragically short timeframe.
One area where Greenhill particularly excelled, and arguably surpassed his master, was in the use of pastels. This medium, which allows for both soft, blended tones and crisp, linear definition, was gaining popularity in the 17th century. Greenhill demonstrated a remarkable facility with crayons, creating portraits that were noted for their freshness, vibrancy, and psychological insight. His pastel drawings, often executed with a deftness and sensitivity, showcased his skill in capturing subtle expressions and the play of light on features. Artists like Edmund Ashfield and later Edwin Luttrell were also exploring the potential of crayons, contributing to a growing English tradition in this medium, but Greenhill's contributions were particularly noteworthy for their quality.
His oil paintings also evolved. While the influence of Lely, and through Lely, that of Van Dyck, remained a constant, Greenhill's works often displayed a slightly different sensibility. There was perhaps a greater directness, a less overtly formulaic approach than sometimes seen in Lely's more extensive studio output. He also showed an awareness of other artistic currents, with some sources suggesting an incorporation of elements reminiscent of the Palladian style, indicating a broader artistic curiosity.
Notable Works and Theatrical Connections
John Greenhill's oeuvre primarily consists of portraits, the dominant genre of the period. He painted members of the aristocracy, gentry, and, significantly, figures from the vibrant theatrical world of Restoration London. His connections with the theatre were strong; he was reportedly a great admirer of the stage and its personalities, and this affinity is reflected in his work.
Among his most celebrated portraits is that of the famous actor Thomas Betterton, depicted in character. Such theatrical portraits were popular, capturing the drama and charisma of the stage. Greenhill's ability to convey not just a physical likeness but also the essence of a performer's persona would have been highly valued. Other sitters included figures like the Earl of Shaftesbury, a prominent politician, indicating Greenhill's access to influential circles.
His portrait of James, Duke of York (later James II), dated around 1660, though perhaps ambitious for such an early point in his career if the dating is precise, shows his engagement with the highest echelons of society. The Portrait of a Lady as a Shepherdess (c. 1665) exemplifies the pastoral conventions popular in portraiture of the time, a mode often employed by Lely and his circle to imbue sitters with an air of rustic charm and classical allusion. The painting of Lady Twisden (c. 1676), created near the end of his life, would represent his mature style, likely showcasing the refinement he had achieved. Other known works include portraits of Seth Ward, Bishop of Salisbury, John Clements, and Henry Fermor. The portrait of Exeter (c. 1673/4) further populates his list of known commissions.
The quality of his draftsmanship, particularly evident in his pastel works and preparatory drawings, was highly praised. These often possess an immediacy and intimacy that can sometimes be lost in more formal, finished oil paintings. His self-portraits, too, are revealing, offering a glimpse into the artist's own character – often intense and perhaps a little melancholic.
The Artistic Landscape of Restoration England
To fully appreciate Greenhill's position, it's essential to consider the broader artistic landscape of Restoration England. Following the artistic austerity of the Commonwealth period, the restoration of Charles II in 1660 ushered in an era of renewed cultural vibrancy and royal patronage. Sir Peter Lely was undoubtedly the kingpin, but he was not the only significant painter active.
The towering influence of Sir Anthony van Dyck, though he had died two decades earlier, still resonated deeply. Lely consciously modeled his career and style on Van Dyck's precedent. Other artists working in England during or around Greenhill's active period included Michael Wright, a Scottish painter who offered a distinct, somewhat less flamboyant alternative to Lely, often imbued with a quiet dignity. Gerard Soest, of Dutch origin, was another contemporary known for his robust and characterful male portraits. Jacob Huysmans, a Flemish painter, was a rival to Lely, particularly favored by Queen Catherine of Braganza.
The field of miniature painting, a distinctively English strength, was graced by artists like Samuel Cooper, whose insightful and exquisitely rendered miniatures were highly prized. While Greenhill worked primarily on a larger scale, the emphasis on capturing a precise likeness in a small compass, as seen in Cooper's work, was part of the broader artistic expectation.
Later in the period, figures like John Riley, another pupil of Lely (or perhaps of Isaac Fuller and then Soest), and Willem Wissing, a Dutch artist who became Lely's assistant and continued his style, would become prominent. Godfrey Kneller, who would eventually succeed Lely as the dominant court painter, arrived in England in 1676, the year of Greenhill's death, heralding a new phase in English portraiture. Female artists were also making their mark, most notably Mary Beale, a contemporary of Greenhill and also associated with Lely's circle, who ran a successful professional studio. These artists, among others like Isaac Fuller, known for his more ambitious historical compositions, and the decorative painters Antonio Verrio and Louis Laguerre who largely worked on grand schemes, formed the competitive and dynamic environment in which Greenhill operated.
A Life of "Unruly Habits" and a Tragic End
Despite his evident talent and the promising trajectory of his career, John Greenhill's personal life was marked by what contemporaries described as "irregular and dissolute habits." He was drawn to the bohemian side of London life, frequenting taverns and cultivating friendships with actors and poets. While this environment may have fueled his creativity and provided him with subjects, it also led him down a path of increasing indulgence, particularly with alcohol.
George Vertue recounts that Greenhill married early and had a family. However, his "unruly" lifestyle and excessive drinking took a toll on his health and his professional discipline. There's a tragic irony in the fact that the very theatrical world he admired and depicted so well may have contributed to the instability that curtailed his life. The pressures of maintaining a studio, securing patronage, and competing with other artists, combined with a predisposition towards a less conventional lifestyle, proved a dangerous mix.
The end came with shocking suddenness. On May 19, 1676, John Greenhill, still a relatively young man likely in his early to mid-thirties, met his death under tragic circumstances. Accounts state that while returning home one evening from the Vine Tavern in Holborn, heavily intoxicated, he stumbled and fell into a ditch in Long Acre. He was carried to his lodgings in Lincoln's Inn Fields, where he died the same night. He was buried in St Giles-in-the-Fields. His wife and family were reportedly left in considerable distress.
Legacy: A "Wasted Hope"
John Greenhill's premature death at such a young age, with his artistic powers still developing, was widely lamented. He was seen as one of the most gifted native-born English painters of his generation, a potential successor to the great traditions of portraiture. The phrase "the most promising of Lely's scholars" and variations of "a wasted hope of English painting" frequently appear in early accounts of his life.
Had he lived longer, it is fascinating to speculate on how his style might have further evolved. Would he have challenged the emerging dominance of Godfrey Kneller? Could he have steered English portraiture in a different direction, perhaps one with a greater emphasis on the psychological depth and freshness seen in his best pastel work? These questions, of course, remain unanswerable.
What survives is a body of work that, though limited by his short career, demonstrates considerable skill and artistic sensitivity. His portraits are valuable records of the personalities of his time, and his mastery of pastels marks a significant contribution to that medium in England. He successfully absorbed the lessons of his master, Lely, but also forged a path that hinted at a unique artistic identity. His connection to the theatrical world provides a specific cultural insight into Restoration London.
His paintings and drawings are held in various public and private collections, including the National Portrait Gallery in London and the Dulwich Picture Gallery, allowing contemporary audiences to appreciate his talent. The story of John Greenhill serves as a poignant reminder of the fragility of genius and the often-unpredictable interplay between artistic talent and personal fortune. He remains a figure of considerable interest to art historians, a bright flame that burned intensely but all too briefly in the rich tapestry of 17th-century English art.
Conclusion
John Greenhill's career, spanning little more than a decade of independent practice, offers a compelling case study in artistic promise and unfulfilled potential. As a star pupil of Sir Peter Lely, he was positioned for greatness, demonstrating a technical facility and an evolving artistic vision that set him apart. His portraits, whether in oil or his particularly favored medium of pastel, captured the likenesses of courtiers, gentry, and the vibrant personalities of the Restoration stage with a skill that drew admiration even from his master.
However, his life was a paradox: a disciplined hand guided by an undisciplined lifestyle. The allure of London's bohemian circles and a propensity for excess ultimately led to a tragic accident that silenced his brush prematurely. He left behind a legacy tinged with sadness for what might have been, yet his surviving works continue to speak of a significant talent. John Greenhill remains an important, if somewhat spectral, figure in the story of British art, a testament to the brilliant but fleeting talents that can illuminate an era, only to be extinguished before their full radiance is achieved. His name is forever linked with the idea of "wasted hope," yet the art he did create ensures he is not forgotten.
