Sir John Baptist de Medina stands as a significant, if sometimes overlooked, figure in the landscape of late 17th and early 18th-century British art. A painter of Flemish-Spanish heritage, born in Brussels, he successfully transplanted the robust traditions of continental Baroque portraiture to both England and, most notably, Scotland. His career, marked by prestigious appointments and a prolific output, offers a fascinating glimpse into the artistic tastes and patronage networks of the era.
Early Life and Continental Foundations
John Baptist de Medina was born in Brussels in 1659. His lineage was a blend of Spanish and Flemish roots, a common occurrence in the Spanish Netherlands of that period. His father was a Spanish captain, which likely provided the family with a certain standing. The artistic environment of Brussels, still echoing with the monumental legacy of Peter Paul Rubens and the refined elegance of Anthony van Dyck, would have been a formative influence on any aspiring painter.
De Medina's formal artistic training was under François Duchatell (also known as Duchastel), a respected Flemish portrait painter. Duchatell himself was part of a generation that followed in the grand tradition of Van Dyck, focusing on capturing the likeness and status of his sitters with a sophisticated, if somewhat less flamboyant, touch than the High Baroque masters. Under Duchatell, de Medina would have honed the fundamental skills of drawing, composition, and oil painting techniques essential for a career in portraiture, the most lucrative genre for artists of the time. The emphasis would have been on accurate representation, a pleasing arrangement of the figure, and the skillful rendering of textures, particularly rich fabrics and lace.
The artistic currents of the Low Countries during de Medina's youth were rich and varied. While the towering figures of Rubens and Rembrandt van Rijn belonged to an earlier generation, their influence persisted. The meticulous realism of Dutch Golden Age painting, the dramatic flair of Flemish Baroque, and the more courtly international styles all contributed to the artistic milieu. De Medina's own developing style would eventually show a particular affinity for the bold brushwork and vibrant colour palettes often associated with the Rubenesque tradition.
Arrival in London and Early Success
Around 1686, John Baptist de Medina made the pivotal decision to move to London. This was a well-trodden path for many continental artists seeking broader opportunities and wealthier patrons. England, particularly London, was a burgeoning centre of commerce and power, and its aristocracy and rising merchant class had a keen appetite for portraiture to commemorate their status and lineage.
In London, de Medina entered a competitive but potentially rewarding art scene. The field of high-end portraiture had been dominated for decades by foreign-born artists. Sir Peter Lely, a Dutchman, had been the principal painter to the court of Charles II until his death in 1680. By the time de Medina arrived, Sir Godfrey Kneller, a German-born artist, was rapidly establishing himself as Lely's successor and would go on to become the leading portrait painter in England for over three decades. Other notable portraitists active in London around this time included John Riley, an English painter who had some royal patronage, and Michael Dahl, a Swedish artist who also enjoyed considerable success.
Despite the formidable presence of Kneller, de Medina managed to carve out a niche for himself. He quickly gained recognition for his skillful portraits of the English aristocracy. His style, which combined Flemish robustness with a certain elegance, appealed to patrons. He was adept at conveying not just a likeness but also a sense of the sitter's importance and character. His London period was crucial for building his reputation and making connections that would later serve him well. It is noted that his talents were recognized by influential figures, with some records mentioning favour from "Charles Prince," possibly alluding to connections within Stuart royal circles or their influential supporters, a common aspiration for artists seeking courtly advancement.
During his time in London, de Medina also engaged in other artistic activities. He is known to have collaborated with the engraver Michael Burghers on a series of eight engravings for an edition of John Milton's Paradise Lost, published in 1688. This project demonstrates his versatility and his engagement with the burgeoning print market, which allowed artists' designs to reach a wider audience. Such collaborations between painters and engravers were common and vital for the dissemination of artistic ideas and images.
The Move to Scotland and Dominance in the North
A significant turning point in de Medina's career came around 1693 or 1694. Encouraged by David Melville, 3rd Earl of Leven (who would later become the 1st Earl of Melville in a new creation), and other Scottish nobles he had likely met or painted in London, de Medina decided to relocate to Edinburgh. Scotland at this time had a less developed native school of portraiture compared to England. While artists like George Jamesone had laid foundations in the earlier 17th century, and Dutch painters like Jacob de Wet (sometimes referred to as Jacob de Wet II) had worked there, there was a demand for a skilled and fashionable portraitist.
De Medina arrived in Edinburgh with a strong portfolio and established connections. He was accompanied by his family and a team of assistants, indicating his intention to set up a substantial studio practice. His arrival was timely, as many prominent Scottish families were eager to have their portraits painted in a style that reflected contemporary European tastes. He was appointed as the private painter to James Douglas, 2nd Duke of Queensberry, a powerful figure in Scottish politics, which further solidified his position.
In Scotland, de Medina became the pre-eminent portrait painter of his generation. He produced a vast number of portraits of Scottish lairds, nobles, academics, and professionals. His studio was highly productive, and to meet the demand, he, like many successful painters of the era including Kneller and Lely, likely employed assistants to help with draperies, backgrounds, and copies. This practice, while efficient, sometimes led to variations in quality, with some works appearing more "mechanical" or formulaic, particularly in the standardized poses and settings.
Despite this, de Medina's best Scottish portraits are characterized by their strong characterization, confident handling of paint, and rich, often somber, colour schemes that suited the Scottish temperament and perhaps the often-dramatic Highland attire depicted. He effectively became the chronicler of the Scottish elite in the years leading up to and immediately following the Act of Union in 1707.
Artistic Style, Technique, and Influences
Sir John Baptist de Medina's artistic style is firmly rooted in the Baroque tradition, yet it possesses individual characteristics that evolved over his career. His early training with François Duchatell would have provided a solid grounding in the Flemish portraiture conventions, emphasizing accurate likeness and dignified presentation.
A key influence often cited in relation to de Medina is Peter Paul Rubens. This is evident in his often bold and fluid brushwork, his rich and warm colour palette, and a certain dynamism in his compositions, especially in his more ambitious works. While not as overtly flamboyant as Rubens, de Medina's portraits often possess a vitality and directness that distinguishes them from the sometimes more staid and formal approach of some contemporaries. He was particularly skilled in rendering the textures of fabrics – silks, velvets, and tartans – and the play of light on these surfaces.
His approach to characterization was a notable strength. He aimed to capture not just the external features of his sitters but also a sense of their personality and social standing. This is apparent in the varied expressions and postures he employed. For instance, his portraits of stern Scottish lairds differ in mood and presentation from those of elegant ladies or learned scholars.
A significant commission that showcases his work in Scotland is the series of portraits for the Royal College of Surgeons of Edinburgh. These works, including the notable group portrait known as "The Surgeons' Hall Portrait," demonstrate his ability to handle multiple figures and create a sense of occasion. While some art historians have noted an initial stiffness or a more "mechanical" quality in some of his early Scottish output, possibly due to the pressures of a busy studio and the use of standardized patterns for poses (a common practice), his style generally evolved towards greater freedom and sincerity. His later works often exhibit a more relaxed and confident application of paint and a more nuanced psychological depth.
It is also recorded that de Medina engaged in creating illustrations for the works of earlier masters such as Martin Schongauer and Albrecht Dürer. While direct engraving work by him in the style of these much earlier Renaissance artists would be unusual for a Baroque painter primarily known for oils, this might refer to his studio producing painted copies or designs based on their prints for patrons, or perhaps designs for new engravings inspired by their compositions. The specifics of these engagements, if they involved direct reinterpretation of such early masters, would be an interesting area for specialized study, as artists often looked to past masters for compositional ideas or iconographic models. His documented work on Paradise Lost with Michael Burghers is a clearer example of his involvement in illustrative projects.
He also painted some historical and landscape subjects, though portraiture remained his primary focus and the basis of his fame. These forays into other genres, however, indicate a broader artistic interest beyond the confines of face-painting.
Representative Works and Major Commissions
Sir John Baptist de Medina's oeuvre is extensive, particularly his Scottish portraits. Several works and series stand out as representative of his style and importance.
One of his most well-known sitters was James Graham, 1st Duke of Montrose. Portraits of such high-ranking nobles were crucial for an artist's reputation and financial success. These commissions would have required not only artistic skill but also the ability to navigate the protocols and expectations of aristocratic patronage.
The series of portraits for the Royal College of Surgeons of Edinburgh, as mentioned, is a significant body of work. These paintings, depicting prominent medical figures of the day, served an important institutional purpose, creating a visual record of the College's leading members. The group portrait, in particular, broke from more static, two-dimensional compositions, aiming for a greater sense of three-dimensionality and interaction among the figures, lending it a liveliness that was innovative for its context in Scotland.
"The Melville Portraits," a collection of likenesses of the Melville family and their connections, are also central to his Scottish period. David Melville, Earl of Leven and Melville, was a key patron who facilitated de Medina's move to Scotland. These portraits, often displaying a sober dignity and strong characterization, are prime examples of his work for the Scottish aristocracy.
His studio produced numerous portraits of clan chiefs, often depicted in tartan, which was becoming an increasingly important marker of Scottish identity. These works contributed to the romantic imagery of the Scottish Highlands that would gain further traction in later centuries. Examples include portraits of figures from the Grant, Campbell, and Mackenzie families, among many others.
Beyond individual portraits, de Medina was also involved in a project to restore and augment the series of portraits of Scottish Kings at the Palace of Holyroodhouse. This task, originally undertaken by Jacob de Wet, involved creating likenesses of largely legendary monarchs, and de Medina's contribution further cemented his role in shaping Scotland's visual heritage.
The sheer volume of work attributed to de Medina and his studio means that quality can vary. However, his best works demonstrate a powerful grasp of character, a confident technique, and a rich, often dramatic, use of colour and light that set him apart as the leading painter in Scotland during his lifetime.
Contemporaries, Collaborations, and Competition
John Baptist de Medina operated within a vibrant, if hierarchical, art world. His teacher, François Duchatell, provided his foundational training. In London, he would have been acutely aware of the towering figure of Sir Godfrey Kneller, whose studio was a veritable portrait factory, setting the standard for courtly and aristocratic likenesses. While Kneller dominated the English scene, de Medina found his own clientele. Other portraitists like Michael Dahl and John Riley also catered to the demand.
His collaboration with the engraver Michael Burghers on the Paradise Lost illustrations is a documented instance of artistic partnership. Such collaborations were essential for disseminating images and for artists to engage with literary and allegorical themes beyond straightforward portraiture.
In Scotland, his main artistic "competitor," though perhaps more of a predecessor in some respects, was Jacob de Wet. De Wet, a Dutch painter, had been commissioned by King Charles II in the 1680s to paint the extensive series of 110 portraits of Scottish monarchs for the Palace of Holyroodhouse. De Wet's style was also rooted in the Baroque, but perhaps with a more distinctly Dutch flavour. When de Medina later worked on this same series, he was building upon, and in some ways supplanting, de Wet's contribution. The presence of other, lesser-known painters and miniaturists also formed part of the artistic landscape, but none achieved the prominence of de Medina in Scotland during his active years there.
The relationship between artists and patrons was paramount. Figures like the Earl of Leven and the Duke of Queensberry were not just clients but also facilitators of de Medina's career in Scotland. Their support provided him with a steady stream of commissions and access to the highest levels of Scottish society. Anecdotal records also suggest his involvement in matters beyond the easel, with some accounts linking him to negotiations related to "British victories" and suggesting his personal fortune benefited from such connections, perhaps through commemorative commissions or influential contacts made in these circles. This hints at the broader social and political networking often required for artistic success in that era.
Later Career, Knighthood, and Demise
Sir John Baptist de Medina continued to be highly productive throughout his years in Scotland. His studio in Edinburgh became the go-to place for anyone of consequence wishing to have their portrait painted. The demand for his work was such that he maintained a consistent output, adapting his style subtly over time but largely adhering to the successful formulas he had developed.
His contribution to the arts in Scotland was formally recognized when he was knighted. This honour, likely conferred in the early 1700s (sources vary slightly on the exact year, with some suggesting around 1706 or 1707), was a significant mark of distinction, elevating his social standing and acknowledging his pre-eminence as an artist in his adopted country. He was, in fact, the last person to be knighted in Scotland before the Act of Union in 1707.
Despite his success, the life of an artist was not without its challenges. Managing a busy studio, satisfying demanding patrons, and maintaining artistic quality across a large number of commissions required considerable skill and business acumen. His later works are generally seen to maintain a high standard, with some art historians noting a greater freedom and sincerity in his brushwork and colour use as he matured.
Sir John Baptist de Medina passed away in Edinburgh on October 5, 1710, at the age of 51. He was buried in Greyfriars Kirkyard, a historic cemetery in Edinburgh. His death marked the end of an era for Scottish portraiture, as he had so thoroughly dominated the field for nearly two decades.
Legacy and Art Historical Evaluation
Sir John Baptist de Medina's legacy is primarily tied to his profound impact on Scottish portraiture. He effectively established a new standard for aristocratic and official portraiture in Scotland, bringing a more cosmopolitan, continental Baroque style to a region that had previously seen more provincial artistic production. For a generation, his vision shaped how the Scottish elite saw themselves and how they were presented to posterity.
His influence extended beyond his own lifetime. His son, also named John Medina (1686-1764), and his grandson, John Medina the Younger (1721-1796), continued the family's artistic tradition as painters in Scotland, though neither achieved the same level of fame or impact as the patriarch. His style also influenced other Scottish painters who followed, such as William Aikman, who, although developing his own distinct manner, emerged in a climate shaped by de Medina's success.
Art historical evaluation of de Medina's work has been somewhat mixed over time. During his life and immediately after, he was highly esteemed. However, as artistic tastes changed, particularly with the rise of Neoclassicism and later Romanticism, the Baroque style of portraiture, with its emphasis on status and sometimes formulaic poses, fell out of fashion. Some critics have pointed to the "mass production" aspect of his studio and the resulting unevenness in quality, with certain works appearing somewhat stiff or repetitive, a criticism also levelled at other highly productive contemporaries like Kneller. The demands of his Scottish clientele, who often desired numerous copies for family members, may have contributed to this.
However, a more nuanced appreciation of his work recognizes his considerable strengths. His best portraits exhibit a powerful psychological insight, a vigorous handling of paint, and a rich sense of colour and texture. He successfully captured the character and dignity of his sitters, particularly the often austere and proud Scottish nobility. His ability to adapt the grandeur of the continental Baroque to the specific cultural context of Scotland was a significant achievement.
In recent decades, there has been a renewed interest in artists like de Medina, as art historians seek a fuller understanding of regional art developments and the careers of artists who, while not perhaps in the absolute first rank of European innovators like Rubens or Rembrandt, played crucial roles in the artistic life of their respective nations or adopted countries. Sir John Baptist de Medina is now recognized as a key figure in the history of British art, and particularly as the artist who, more than any other, defined Scottish portraiture at the turn of the 18th century. His works remain vital documents of the people and the period, offering a window into the society of late Stuart and early Hanoverian Scotland.
