John James Masquerier stands as a fascinating figure in the landscape of late 18th and early 19th-century British art. A painter of considerable talent, particularly in the realm of portraiture, his life and career were shaped by a unique blend of English birth and French artistic education, all set against the tumultuous backdrop of the Napoleonic era. His ability to capture the likeness and character of his sitters, often with a vibrant and direct technique, earned him a notable place among his contemporaries, though perhaps not the enduring household name status of some of his peers. This exploration delves into his origins, artistic development, significant works, and his position within the rich artistic milieu of his time.
Early Life and Franco-British Foundations
John James Masquerier was born in Chelsea, London, in October 1778. His parentage immediately signals the cross-Channel connections that would define much of his early life: his parents, Lewis Masquerier and Judith Barbot, were French Huguenot immigrants. This heritage placed him within a community that had sought refuge in England from religious persecution in France, bringing with them their skills, culture, and often, a distinct worldview. The Huguenot diaspora had a significant impact on British arts and crafts, and Masquerier's lineage is a part of this broader narrative.
His early artistic inclinations led him, or perhaps his family guided him, towards a formal education in the arts. Crucially, this education began not in England, but in Paris. At the age of twelve, around 1790, he was sent to the French capital, a city then on the cusp of revolutionary upheaval but still a dominant center for artistic training. This move was likely facilitated by family connections or the perception that Parisian ateliers offered superior instruction.
In Paris, Masquerier had the distinct privilege of studying under François-André Vincent (1746-1816). Vincent was a significant figure in French Neoclassicism, a rival to the more famous Jacques-Louis David, and a respected teacher. He had won the Prix de Rome and his work emphasized strong drawing, classical composition, and historical subjects, though he was also an adept portraitist. Training with Vincent would have instilled in Masquerier a rigorous academic foundation, focusing on anatomical accuracy, draughtsmanship, and the classical ideals then prevalent. This Parisian grounding would differentiate him from many of his purely British-trained contemporaries.
The escalating French Revolution, however, made Paris an increasingly precarious place. Masquerier returned to London around 1792, just as the Reign of Terror was beginning to unfold. Back in his birth city, he continued his artistic education by enrolling in the prestigious Royal Academy Schools. Here, he would have been exposed to the teachings and influences of leading British artists of the day, such as Benjamin West, then President of the Royal Academy, and the expressive, romantic works of Henry Fuseli, who was Professor of Painting. The RA Schools emphasized life drawing and the study of Old Masters, complementing his Parisian training.
The Emergence of a Portrait Painter
Masquerier began exhibiting at the Royal Academy in 1793, signaling his professional debut. His early works demonstrated a precocious talent, and he quickly began to make a name for himself as a portrait painter. Portraiture was the most lucrative and socially prominent genre for artists in Britain at this time, with a constant demand from the aristocracy, gentry, and burgeoning middle class. Artists like Sir Joshua Reynolds (who died in 1792 but whose influence was immense) and Thomas Gainsborough (d. 1788) had set an incredibly high bar, and a new generation, including Sir Thomas Lawrence, John Hoppner, and Martin Archer Shee, were vying for preeminence.
Masquerier's style was noted for its naturalism and expressive quality. Unlike some of the more formulaic portraitists, he sought to capture the "essence" of his sitters rather than merely a superficial likeness. His French training, particularly in the use of pastels, may have contributed to a certain vivacity and directness in his approach. Pastels, a medium championed in France by artists like Maurice Quentin de La Tour and Jean-Baptiste Perronneau, and in England by figures such as John Russell, allowed for a speed of execution and a brilliance of color that suited a more spontaneous and intimate portrayal.
His skill with pastels became one of his hallmarks. This medium, with its soft, blendable qualities, could produce effects of great delicacy and immediacy. Masquerier's proficiency in this demanding technique allowed him to create portraits that were both lifelike and imbued with a gentle charm. He also worked extensively in oils, demonstrating versatility across different media.
A Parisian Interlude and a Napoleonic Encounter
One of the most intriguing episodes in Masquerier's career occurred in 1800. With a temporary peace, the Peace of Amiens, on the horizon (formally signed in 1802), travel to France became possible again. Masquerier seized the opportunity to return to Paris. This visit was not merely for leisure or further study; it had a specific, ambitious purpose. He aimed to paint a portrait of Napoleon Bonaparte, then First Consul and the most powerful man in Europe.
Accounts suggest that Masquerier, possibly through connections or sheer audacity, managed to gain access to Napoleon during a review of the Consular Guard at the Tuileries Palace. He reportedly made quick sketches of the First Consul on this occasion. From these sketches, and perhaps with the aid of existing portraits or descriptions, he composed a full-scale painting, Napoleon Reviewing the Consular Guards, upon his return to London in 1801.
This painting was a significant undertaking. He exhibited it in a solo show in Piccadilly, charging an entrance fee, a common practice for displaying particularly noteworthy or large-scale works at the time. The exhibition was reportedly a popular success, capitalizing on British curiosity and fascination with the figure of Napoleon. The work was subsequently engraved by Charles Turner, a prominent mezzotint engraver, which further disseminated the image and Masquerier's name. This venture demonstrated Masquerier's entrepreneurial spirit as well as his artistic ambition.
However, there is a slight controversy or, at least, a point of clarification regarding this Napoleonic portrait. Charles Turner himself later stated that he, Turner, had never seen Napoleon in person, which some have interpreted as casting doubt on the absolute verisimilitude of Masquerier's portrayal, or at least confirming it was based on fleeting observation rather than formal sittings. Regardless, the painting and its exhibition were a coup for Masquerier, significantly raising his profile.
Notable Works and Artistic Achievements
Throughout his career, Masquerier produced a considerable body of work, primarily portraits, though he also painted some "fancy pictures" or genre scenes. His artistic peak is often considered to be the period between roughly 1798 and 1812.
Among his most celebrated works is the portrait of Emma, Lady Hamilton, depicted half-length, seated on a balcony with the Bay of Naples and Mount Vesuvius in the background. This iconic image, full of Romantic allure, captures the famous muse of George Romney and mistress of Lord Nelson. The painting was engraved in mezzotint by William Say in 1806, further popularizing the image. Lady Hamilton was a celebrity in her own right, and portraits of her were highly sought after. Masquerier's version is a notable contribution to her extensive iconography.
Another work often cited as a masterpiece is his portrait of Colonel George Augustus Eliott Towry. This painting showcases Masquerier's ability to convey both the formal dignity of a military officer and a sense of individual character. The confident handling of paint and the strong presence of the sitter are characteristic of his best work.
He also painted literary figures, such as the scholar and philologist Robert Nares (1753-1829). Such portraits of intellectuals and men of letters were an important part of a portraitist's oeuvre, reflecting the cultural life of the period.
A charming example of his group portraiture is The Russell Family Children, a collaborative effort with the renowned pastellist John Russell R.A. (1745-1806). Russell was a master of the pastel medium, and a collaboration with him would have been a significant learning experience and endorsement for Masquerier. This work highlights his ability to handle complex compositions involving multiple figures, capturing the innocence and liveliness of youth.
His portrait of John Kirby, an Ipswich worthy, was engraved by Charles Turner, marking one of Turner's earliest significant plates. This connection with a leading engraver like Turner was crucial for an artist's reputation, as engravings made their work accessible to a much wider audience than original paintings alone.
Masquerier's style is often described as having a "bold brushwork" and a "direct painting manner." He was less concerned with achieving the highly polished, almost enamel-like finish favored by some academic painters, and more interested in conveying vitality and character. This approach aligns him with a more painterly tradition, perhaps influenced by artists like Sir Henry Raeburn, the leading Scottish portraitist of the era, whose direct, square-brush technique was also highly distinctive. Indeed, some sources suggest Raeburn himself may have adopted similar painting theories or been influenced by Masquerier's approach, though Raeburn was an established master in his own right.
Artistic Circle, Collaborations, and Competitions
The art world of London during Masquerier's active years was a vibrant but competitive environment. He moved within a circle of artists, engravers, patrons, and intellectuals. His collaboration with John Russell has already been noted. His work was frequently engraved by prominent printmakers like Charles Turner and William Say, which was a common and mutually beneficial practice. Engravers like Francesco Bartolozzi, also active in London, had popularized stipple engraving, creating a huge market for prints after paintings.
He would have been acutely aware of the leading portraitists of the day. Sir Thomas Lawrence was the dominant figure, inheriting the mantle of Reynolds and painting virtually everyone of importance with dazzling virtuosity. John Hoppner was another major rival to Lawrence until his death in 1810. Martin Archer Shee, who would later become President of the Royal Academy, was also a successful portrait painter. Masquerier had to carve out his niche amidst these luminaries.
His relationship with James John Hill (1811-1882), a younger artist, is mentioned, with Hill being a friend of Masquerier's adopted son. This suggests Masquerier may have played a mentorship role or at least moved in circles that included emerging artists. The competitive nature of the art world also extended to the realm of printmaking, where artists like George Dawe and George Jones were also having their works engraved and disseminated.
Masquerier's French connections remained. His early training under Vincent in Paris placed him in a lineage that included David and, by extension, pupils of David like Jean-Auguste-Dominique Ingres, who would become a towering figure in French 19th-century art. While their styles diverged significantly, the shared emphasis on strong draughtsmanship from that French academic tradition likely remained a part of Masquerier's artistic DNA.
Beyond the Easel: Social Reform and Personal Life
Interestingly, Masquerier's interests extended beyond the world of art. He is described in some accounts as an advocate for social reform, particularly land reform. He reportedly supported the idea of dividing land into small, inalienable plots, a concept aimed at promoting wider property ownership and a more equitable society. This suggests a man with a social conscience, perhaps influenced by the radical ideas circulating during the French Revolution and its aftermath. Such views might have found sympathy with figures like Thomas Paine or William Godwin in England.
Details about Masquerier's personal life are somewhat scarcer than those of his artistic career. He married Miss Scott in 1812, and the couple resided in Brighton for many years. Brighton, a fashionable seaside resort patronized by the Prince Regent (later King George IV), would have offered opportunities for portrait commissions. He seems to have achieved a degree of financial success, retiring from active portrait painting around 1823, although he continued to live for several more decades. He had an adopted daughter, as indicated by the connection to James John Hill.
His decision to retire relatively early, in his mid-forties, is noteworthy. It might suggest he had amassed sufficient wealth, or perhaps a desire to pursue other interests. He spent his later years in Brighton, a popular and lively town.
Later Years and Legacy
John James Masquerier passed away in Brighton on March 13, 1855, at the advanced age of 76. He had lived through a period of immense artistic and social change, from the tail end of the Enlightenment, through the Napoleonic Wars, and into the Victorian era.
His legacy is primarily that of a skilled and sensitive portrait painter. While he may not have achieved the towering fame of a Reynolds, Gainsborough, or Lawrence, his contributions are significant. His ability to blend French technical training with a British sensibility for character resulted in portraits that are both elegant and insightful. His works are held in various public collections, including the National Portrait Gallery, London, and regional museums, as well as in private hands. For instance, a portrait attributed to him of Laura Micklethwait is noted in auction records, indicating his works continue to circulate in the art market. His portrait of Daniel O'Connell is preserved at Derrynane House & Gardens in Ireland.
His influence on other artists, such as the suggested connection with Raeburn's painting theories, points to a respect for his technical understanding. His early success with the Napoleon portrait demonstrates an entrepreneurial flair and an ability to capture the public imagination.
The preservation of his works has been noted as generally good, suggesting sound technique in his use of materials, particularly in his pastels, which can be fragile if not handled and preserved correctly. His style, characterized by its directness and focus on capturing the sitter's personality, offers a valuable window into the society of his time. He painted individuals from various strata – military men, scholars, society figures, and children – creating a diverse gallery of faces from a pivotal period in British history.
Conclusion: An Artist of Merit and Nuance
John James Masquerier was more than just a competent face-painter. He was an artist whose Huguenot heritage and Parisian training provided him with a unique artistic foundation. He navigated the competitive London art scene with skill, producing portraits in oil and pastel that were admired for their vivacity, characterization, and technical assurance. His brief but impactful engagement with the image of Napoleon Bonaparte showcased his ambition and ability to connect with the zeitgeist.
While perhaps overshadowed in the grand narratives of art history by some of his more famous contemporaries like Sir Thomas Lawrence or even the slightly earlier masters like George Romney or Ozias Humphry (known for miniatures and pastels), Masquerier's oeuvre remains a testament to a dedicated and talented artist. His portraits offer intimate glimpses into the personalities of his era, rendered with a freshness and directness that continue to appeal. As an art historian, I see him as a significant contributor to the rich tapestry of British portraiture, a bridge between artistic traditions, and a keen observer of the human countenance. His advocacy for social reform adds another layer to our understanding of him as a man of his time, engaged with the pressing issues beyond the studio. His works deserve continued appreciation and study.
