John Riley stands as a significant figure in the narrative of English portraiture, bridging the gap between the continental flair of Sir Peter Lely and the prolific output of Sir Godfrey Kneller. Active during the latter half of the 17th century, a period of dramatic political and social change in England, Riley developed a distinct style characterized by its sincerity, modesty, and insightful grasp of character. Though perhaps less flamboyant than some of his contemporaries, his work possesses a quiet strength and psychological depth that earned him the prestigious position of Principal Painter in Ordinary, jointly with Kneller, to King William III and Queen Mary II.
Early Life and Artistic Formation
John Riley was born in London in 1646, specifically in the parish of St Botolph-without-Bishopsgate. He was a son of William Riley. Little is documented about his earliest years, but his path towards an artistic career became clear when he undertook training with two notable painters then working in England: Isaac Fuller (c. 1606–1672) and Gerard Soest (c. 1600–1681). Both masters offered different perspectives on the art of portraiture.
Isaac Fuller was an English painter known for his robust, sometimes coarse, but energetic style, particularly in historical subjects and decorative schemes, though he also practiced portraiture. His approach was less refined than the courtly styles dominating the era, potentially instilling in Riley an appreciation for vigorous characterization. Fuller himself had spent time in France, absorbing elements of the continental Baroque. Riley was considered one of Fuller's most promising pupils, suggesting an early aptitude for the craft.
Gerard Soest, of Dutch origin, brought a different sensibility. Soest was respected for his portraits, particularly of men, which were often noted for their strong likeness and solid technique, though sometimes criticized for a lack of grace in depicting female sitters or fashionable attire. His style was grounded in the Dutch realist tradition, emphasizing accurate observation. Training under both Fuller and Soest likely provided Riley with a diverse foundation, blending native English energy with Dutch precision.
Developing an Independent Style
After completing his apprenticeships, John Riley established himself as an independent painter in London. His early career did not bring immediate widespread fame. The London art scene during the Restoration was dominated by the towering figure of Sir Peter Lely (1618–1680), the German-born painter who had succeeded Van Dyck as the leading court portraitist. Lely's style, characterized by its elegance, rich colours, languid poses, and flattering depictions, set the standard for aristocratic portraiture.
Riley's work inevitably showed the influence of Lely, particularly in the composition and general format of his portraits. However, Riley gradually carved out his own niche. He developed a quieter, more introspective approach. While Lely often idealized his sitters, clothing them in generalized studio draperies and bestowing upon them an air of aristocratic nonchalance, Riley seemed more focused on capturing a specific, individual likeness and conveying a sense of the sitter's personality.
His contemporaries and later critics often noted that Riley excelled particularly in the portrayal of men. His male portraits are frequently praised for their strength, sobriety, and psychological insight. He seemed less interested in fashionable display and more in the underlying character. This is not to say he was unskilled in depicting textures or fabrics – indeed, his handling of drapery was often noted – but it was typically rendered with less ostentation than Lely's. His colour palette could be more subdued, contributing to the overall impression of sincerity and lack of affectation.
Portraits of Note: Beyond the Aristocracy
While Riley painted prominent figures, including royalty and members of the court, some of his most celebrated and revealing works depict individuals of lower social standing. These portraits demonstrate his unique ability to find dignity and interest in subjects often overlooked by court painters focused solely on the elite. They showcase his talent for direct, unpretentious observation.
Two works stand out in this regard. *The Scullion*, also known sometimes simply as *A Scullion*, depicts a young kitchen servant. The painting, now housed at Christ Church, Oxford, is remarkable for its sympathetic and realistic portrayal. Riley captures the youth's direct gaze and individual features without condescension, presenting him simply as a person. It's a work that speaks volumes about Riley's capacity for empathy and his interest in character regardless of social rank.
Equally famous is the portrait of *Bridget Holmes* (1686), now in the Royal Collection and often displayed at the Ashmolean Museum, Oxford. Bridget Holmes (1591–1691) was a long-serving royal servant, a 'necessary woman' whose duties included cleaning and maintaining rooms in the royal household. She served an astonishing number of monarchs, from Charles I to William III and Mary II. Riley painted her at the remarkable age of 95. The portrait is striking for its realism and lack of flattery, showing the marks of age on her face, yet imbuing her with a sense of resilience and perhaps a touch of weary pride. It is a powerful character study, far removed from the idealized conventions of much contemporary court portraiture.
These works highlight a specific facet of Riley's artistry: a grounded realism and an interest in the human subject that transcended the usual demands for status and glamour in portraiture of the period. They reveal a painter capable of deep observation and sincere representation.
Royal Patronage and the Role of Principal Painter
Despite his modest beginnings and perhaps unassuming personality – described by some sources as diffident – Riley's talent did not go unnoticed indefinitely. He painted a portrait of the influential courtier Thomas Chiffinch, which reportedly pleased King Charles II. He subsequently painted portraits of Charles II himself, and later of King James II and his Queen, Mary of Modena.
His career reached its apex after the Glorious Revolution of 1688, which brought William III and Mary II to the throne. In 1689, Riley was appointed Principal Painter in Ordinary, a prestigious position signifying the monarch's chief portraitist. Significantly, this appointment was made jointly with Sir Godfrey Kneller (1646–1723). Kneller, also German-born, was rapidly becoming the dominant force in English portraiture, known for his speed, efficiency, and ability to capture a likeness with fashionable flair.
Sharing the role with Kneller reflected the changing dynamics of the art world. Kneller's star was rising, and his studio would become a veritable portrait factory, producing vast numbers of works. Riley, perhaps less suited to the demands of mass production, maintained his more meticulous and thoughtful approach. The joint appointment acknowledged Riley's established skill and reputation while also recognizing Kneller's growing influence. During this period, Riley painted portraits of the new monarchs, William III and Mary II, as well as other members of their court, such as the striking portrait of *Prince George of Denmark* (Queen Anne's consort), painted around 1687-88.
Collaboration and Studio Practice: John Closterman
Like many successful painters of his era, Riley employed studio assistants to help manage the workload, particularly with elements like drapery and backgrounds. His most notable collaborator was John Closterman (1660–1711), another German-born painter who had come to England. Closterman initially worked for Riley, specializing in painting the costumes and draperies in his portraits. This was a common practice, allowing the master painter to focus on the face and hands, considered the most crucial elements revealing likeness and character.
The relationship between Riley and Closterman was apparently close for a time; Closterman lived with Riley. However, sources suggest their professional partnership eventually ended due to disagreements, possibly over recognition or artistic direction. Despite the split, Closterman continued to live with Riley. After Riley's untimely death in 1691, Closterman is known to have completed several of his unfinished paintings, a testament to their intertwined careers, even amidst professional friction. Closterman himself went on to have a successful independent career as a portraitist.
The Artistic Network: Teachers, Students, and Contemporaries
John Riley operated within a vibrant, if complex, artistic milieu in late 17th-century London. His network included his teachers, the students he trained, and the numerous other painters active during his lifetime.
His teachers, Isaac Fuller and Gerard Soest, represented different strands of influence – Fuller's bolder, more native style and Soest's solid, Dutch-influenced realism.
Riley, in turn, became a respected master himself, training several pupils who would go on to have their own careers. Among the most significant was Jonathan Richardson the Elder (1667–1745). Richardson became a highly successful portrait painter in the generation following Riley and Kneller, and also an influential writer on art theory and connoisseurship. His style owed something to Riley's sobriety and focus on character. Other documented pupils include Thomas Murray (1663–1734), a Scottish portrait painter who achieved considerable success, and Anthony Russell (fl. late 17th–early 18th century), who also worked as a portraitist.
Riley's contemporaries formed a diverse group. Sir Peter Lely was the dominant figure during Riley's formative years, setting the standard Riley both learned from and reacted against. Sir Godfrey Kneller was his direct contemporary (born in the same year) and eventual colleague as joint Principal Painter, whose prolific output and more formulaic, but highly competent, style eventually eclipsed Riley's quieter approach in terms of sheer volume and fashionable appeal.
Other notable painters active in England during or overlapping with Riley's career include:
* John Greenhill (c. 1644–1676): A talented pupil of Lely, considered one of the most promising English-born portraitists of his generation. His career was tragically cut short by his dissolute lifestyle and early death. He was a direct contemporary of Riley, but there is no known record of collaboration between them.
* Mary Beale (1633–1699): One of the most important female professional painters in 17th-century England, known for her sensitive portraits, often of her friends and intellectual circle.
* Willem Wissing (1656–1687): A Dutch portrait painter who worked in Lely's studio and later achieved considerable success in England, particularly favoured by the court of James II, before his early death.
* Michael Dahl (c. 1659–1743): A Swedish painter who settled in England and became a significant rival to Kneller after Riley's death, known for his elegant and slightly softer style.
* Jacob Huysmans (c. 1633–1696): A Flemish painter active in England, particularly noted for his portraits of Queen Catherine of Braganza and other court ladies, often depicted in allegorical or pastoral settings.
* Antonio Verrio (c. 1636–1707): An Italian painter specializing in large-scale decorative murals, responsible for elaborate schemes at Windsor Castle and Hampton Court Palace. Though not primarily a portraitist in the same vein, he was a major figure in royal artistic patronage.
Painters from a slightly earlier generation, whose careers ended as Riley's was beginning or underway, also shaped the artistic landscape he inherited:
* William Dobson (1611–1646): Considered one of the finest English-born painters before the 18th century, active during the reign of Charles I. His robust, psychologically astute portraits set a high bar, though his career was cut short by the English Civil War and his early death.
* Robert Walker (c. 1600/1610–c. 1658): A portrait painter particularly associated with the Parliamentarian side during the Commonwealth period, known for his portraits of Oliver Cromwell.
This network illustrates the dynamic interplay of native talent and foreign influence (Dutch, German, Flemish, Italian, French) that characterized the English art world of the time. Riley navigated this scene, absorbing influences while developing his own distinctive voice.
Character, Health, and Final Years
Contemporary accounts and anecdotes suggest John Riley was a man of considerable modesty and integrity. Unlike some of the more flamboyant artistic personalities of the era, he appears to have been somewhat reserved, even diffident about his own abilities. This personal modesty seems reflected in the unpretentious quality of much of his work.
He was also known for his kindness and generosity. Sources mention his charitable acts and the high regard in which he was held by his friends and by those less fortunate whom he helped. His death was reportedly met with widespread sorrow within his community, indicating a man who was respected not just for his art, but for his character.
Unfortunately, Riley's later life was marked by ill health. He suffered from gout, a painful condition common at the time, often associated with diet and lifestyle, though its causes are complex. This affliction ultimately led to his death. John Riley passed away in March 1691, at the relatively young age of 45. He was buried in St Botolph's Church, Bishopsgate, the same parish where he had been born.
Legacy and Artistic Assessment
John Riley occupies a crucial, if sometimes underestimated, place in the history of British art. He emerged during the dominance of Lely's courtly style and co-existed with the rise of Kneller's efficient and fashionable portraiture. Riley offered a valuable alternative: a style rooted in careful observation, psychological depth, and a sincere, unadorned presentation of the sitter.
His particular strength lay in capturing character, especially in his male portraits, which possess a gravity and thoughtfulness distinct from the often more superficial elegance of his rivals. His willingness to portray subjects from outside the aristocracy, like Bridget Holmes and the anonymous 'Scullion', with dignity and insight, marks him as a painter of considerable humanity and originality within the constraints of his time.
While Kneller's studio system and adaptable style led him to dominate English portraiture for decades after Riley's death, Riley's influence persisted, particularly through his pupil Jonathan Richardson the Elder. Richardson inherited something of Riley's seriousness and focus on character, transmitting these values into the early 18th century.
Today, John Riley's works can be found in major collections, including the Royal Collection, the National Portrait Gallery in London, the Ashmolean Museum in Oxford (including the works from Christ Church), the National Galleries of Scotland, the National Gallery of Art in Washington D.C., and the Rijksmuseum in Amsterdam, among others. His paintings continue to be appreciated for their quiet integrity, their skillful execution, and their honest portrayal of the individuals who lived through the turbulent and transformative era of Restoration and Revolution England. He remains a testament to the enduring power of modest observation and sincere artistry.
