Thomas Murray (1663–1734) stands as a significant, if sometimes overlooked, figure in the landscape of British portrait painting during the late Stuart and early Georgian periods. A native of Scotland, Murray established a successful practice in London, capturing the likenesses of a diverse clientele that ranged from royalty and aristocracy to prominent intellectuals and members of the burgeoning professional classes. While often working in the towering shadow of his contemporary, Sir Godfrey Kneller, Murray carved out a distinct niche for himself, valued for his reliable likenesses and his adept rendering of character and costume. His oeuvre provides a valuable visual record of British society at a time of considerable political, social, and intellectual transformation.
Early Life and Artistic Formation
Born in Scotland in 1663, the precise details of Thomas Murray's earliest years and initial artistic inclinations remain somewhat obscure, a common fate for many artists of the period whose lives were not as meticulously documented as those of the absolute titans of the art world. It is known, however, that he sought artistic training, a path that eventually led him to London, the burgeoning epicentre of artistic patronage and opportunity in Britain.
In London, Murray became a pupil of John Riley (1646–1691). Riley was a respected English portrait painter who had himself studied under Isaac Fuller and Robert Streater. He rose to prominence after the death of Sir Peter Lely, eventually becoming joint Principal Painter to King William III and Queen Mary II, alongside Godfrey Kneller. Riley's style was noted for its sobriety and psychological insight, often contrasting with the more flamboyant continental Baroque influences. Murray's apprenticeship under Riley would have provided him with a solid grounding in the techniques of oil painting, draughtsmanship, and the particular demands of portraiture, which required not only technical skill but also the ability to manage sitters and capture a pleasing and recognizable likeness. This training under a leading native-born painter was crucial in shaping Murray's approach to his art.
Establishing a Career in London
Following the completion of his training, Thomas Murray set about establishing his own studio and practice in London. This was a competitive environment, with established names and newly arriving foreign talents all vying for commissions. The late 17th and early 18th centuries saw an immense demand for portraits, driven by a desire for status, commemoration, and familial legacy among the wealthy and influential.
Murray's Scottish origins do not seem to have hindered his progress in the English capital. He steadily built a reputation for producing well-crafted portraits that were both accurate and dignified. While perhaps not possessing the dazzling virtuosity or the sheer prolific output of Sir Godfrey Kneller, Murray offered a reliable and skilled hand. His ability to capture the "face" or the essential character of his sitters was a key component of his success, as noted in some contemporary observations. He navigated the art world of his time, securing commissions that demonstrated his growing standing.
His style, while rooted in the traditions inherited from Lely and Riley, also absorbed elements of the prevailing Baroque aesthetic. This included attention to rich textures, dynamic (though often subtly so) poses, and a sophisticated use of light and shadow to model form and create a sense of presence. He was adept at portraying the elaborate costumes of the era, from the formal attire of court to the more relaxed "undress" that was becoming fashionable for informal portraits.
Notable Works and Clientele
Thomas Murray's body of work includes portraits of many distinguished individuals of his time, reflecting the breadth of his patronage. One of his most frequently cited works is the Portrait of Henriette D’Auverquerque, Countess of Grantham, painted around the 1690s. This painting is particularly noted by costume historians for its depiction of informal attire, or "undress." The Countess is shown in a loose-fitting gown, likely a silk banyan or a similar type of informal robe, which was increasingly popular for at-home wear and for more intimate portraits. Such garments signified a degree of ease and status, suggesting the sitter was comfortable enough not to be in full, restrictive formal wear. Murray’s careful rendering of the fabric and the relaxed pose contribute significantly to our understanding of fashion and self-presentation in this period.
Another significant portrait is that of Sir Hans Sloane (1660–1753), which is now in the collection of the Royal College of Physicians. Sloane was an Irish-born physician, naturalist, and collector, whose vast collection formed the foundation of the British Museum. He also succeeded Sir Isaac Newton as President of the Royal Society. Murray’s portrait depicts Sloane with an air of intellectual gravitas, befitting his status. The painting captures a keen, intelligent gaze and the symbols of his learning, serving as a testament to Murray's ability to portray leading figures of the Enlightenment.
Murray also painted royalty, including portraits of King William III and Queen Anne. These commissions underscore his acceptance at the highest levels of society. His portrait of the celebrated navigator and explorer William Dampier (held in the National Portrait Gallery, London) is another key work, capturing the rugged character of a man who circumnavigated the globe three times. He also painted the astronomer Edmond Halley, famous for the comet that bears his name, a portrait now with the Royal Society. These works demonstrate Murray's engagement with the intellectual and scientific luminaries of his age.
His clientele extended to various members of the aristocracy and gentry, who sought to have their likenesses preserved for posterity. Each portrait would have been a careful negotiation between the artist's vision and the sitter's desire for a particular mode of representation – be it powerful, graceful, learned, or fashionably elegant.
Artistic Style and Technique
Thomas Murray's artistic style is characteristic of British portraiture of the late Baroque era. His work generally displays a competent and often insightful approach to capturing likeness, with a strong emphasis on the face as the primary conveyor of identity and character. While he operated within the established conventions of the time, which often dictated pose, costume, and accessories to signify status, Murray's portraits often possess a directness and a lack of excessive flattery that can be quite appealing.
His handling of paint was generally smooth, with careful attention to the rendering of textures, particularly silks, velvets, and lace, which were prominent features of contemporary attire. The drapery in his paintings is often skillfully arranged, adding to the composition's balance and the sitter's dignified presentation. His colour palettes were typical of the period, often employing rich, deep tones for backgrounds and clothing, which allowed the flesh tones of the face and hands to stand out.
In terms of composition, Murray often utilized standard formats, such as the three-quarter length or the bust-length portrait within a feigned oval. However, he was capable of varying his compositions to suit the sitter and the desired effect. The lighting in his portraits is generally designed to model the features clearly and create a sense of volume, often with a primary light source illuminating one side of the face and casting subtle shadows on the other, a technique refined by artists like Sir Anthony van Dyck and passed down through Lely and Riley.
Compared to Kneller, Murray's work might be perceived as less flamboyant or dynamic. Kneller, with his vast studio and almost industrial output, often employed a more bravura brushwork and a grander, more overtly rhetorical style, especially in his state portraits. Murray’s approach could be seen as somewhat more reserved, perhaps reflecting the influence of John Riley’s more introspective style. However, this is not to diminish Murray's skill; his portraits are often marked by a quiet dignity and a solid sense of presence.
The Fashionable Image: Costume in Murray's Portraits
A notable aspect of Thomas Murray's portraiture, as highlighted by the Portrait of Henriette D’Auverquerque, is his depiction of contemporary costume, particularly the evolving styles of "undress" or informal wear. In the late 17th and early 18th centuries, there was a growing trend among the elite to be portrayed in these more relaxed garments, especially for portraits intended for more private display or for sitters who wished to project an image of scholarly or leisurely refinement.
The "banyan," a loose, T-shaped gown often made of rich imported fabrics like silk or Indian cotton, became a popular item for men to wear at home, and women had similar informal robes. Being painted in such attire could signify a certain worldliness (as these garments often had Eastern origins or influences) and a comfortable status that did not require the constant assertion of formal court dress. Murray’s ability to render these garments, with their flowing lines and rich textures, added an important dimension to his portraits. He captured not just the likeness of the sitter but also their engagement with the fashionable trends of the day, providing invaluable information for costume historians.
This attention to the nuances of dress, whether the stiff formality of court attire, the academic robes of a scholar, or the fashionable ease of undress, demonstrates Murray's keen observation and his understanding of how clothing contributed to the overall persona projected by the portrait. It was an essential skill for a portraitist whose clients were acutely aware of the social codes embedded in their appearance.
Contemporaries and the Artistic Milieu
Thomas Murray worked within a vibrant and competitive artistic milieu in London. His career spanned a period dominated by several key figures in British portraiture.
Sir Godfrey Kneller (1646–1723) was undoubtedly the leading portrait painter in England from the 1680s until his death. German-born, Kneller established a hugely successful studio, painting a vast number of British and European notables. His style was influential, and he held the position of Principal Painter to the monarch. Murray operated in the same market, and while he may not have achieved Kneller's overwhelming dominance, he maintained a successful independent practice.
John Riley (1646–1691), Murray’s master, was a significant English-born talent who, as mentioned, shared the role of Principal Painter with Kneller for a time. His more subdued and psychologically nuanced style provided an alternative to the grander Baroque manner.
Michael Dahl (c. 1659–1743), a Swedish-born painter, was another major rival to Kneller in London. Dahl arrived in England in the 1680s and built a distinguished career, patronized by Queen Anne and George I, among others. His style was elegant and refined, often with a softer, more graceful quality than Kneller's.
John Closterman (1660–1711), a German portrait painter, also worked in England during this period. He collaborated with John Riley on some works and later established his own successful practice, known for his robust and characterful portraits.
Jonathan Richardson the Elder (1667–1745) was not only a respected portrait painter but also an influential writer on art theory. His "An Essay on the Theory of Painting" (1715) was a significant contribution to art criticism in England. His portraits are known for their solid draughtsmanship and thoughtful characterization.
Charles Jervas (c. 1675–1739), an Irish portrait painter, was a friend of Alexander Pope and Jonathan Swift. He studied under Kneller and later succeeded him as Principal Painter to King George I in 1723. His work was fashionable, though sometimes criticized for a certain superficiality.
Earlier influences on the generation of Riley and Murray included Sir Peter Lely (1618–1680), the Dutch-born painter who dominated English portraiture after Van Dyck's death until his own. Lely’s sensuous and elegant style set a standard that subsequent painters either emulated or reacted against. William Wissing (1656-1687), another Dutch artist, was a pupil and assistant to Lely and enjoyed considerable success before his early death, painting many members of the royal family and aristocracy.
Later in Murray's career, new talents began to emerge. William Hogarth (1697–1764), though more famous for his satirical narrative series, was also a gifted portraitist whose style marked a shift towards a more robust and distinctly English realism. The Scottish painter Allan Ramsay (1713–1784), who would become a leading portraitist in the mid-18th century, was just beginning his career as Murray's was drawing to a close. Ramsay would bring a new elegance and psychological depth to British portraiture, influenced by his studies in Italy and French Rococo aesthetics.
This constellation of artists, both native-born and foreign, created a dynamic environment. Murray's success in maintaining a long and productive career amidst such talent speaks to his skill and adaptability.
Later Life and Legacy
Thomas Murray continued to paint into the early 18th century, witnessing shifts in artistic taste and the rise of a new generation of painters. He died in London in 1734, leaving behind a substantial body of work that documents the faces of a pivotal era in British history.
While he may not be as widely celebrated today as some of his contemporaries like Kneller or, later, Hogarth and Reynolds, Murray's contribution is significant. His portraits are valuable historical documents, offering insights into the personalities, status, and cultural values of his sitters. They are also testaments to the enduring importance of portraiture as a means of commemoration and self-fashioning.
His work can be found in numerous public and private collections, including the National Portrait Gallery in London, the Royal Society, and the Royal College of Physicians. These holdings ensure that his art remains accessible for study and appreciation. Art historians and costume specialists continue to consult his paintings for their accurate depictions of period dress and for the light they shed on the social and cultural history of Baroque Britain.
Thomas Murray's legacy is that of a skilled and diligent professional, a Scottish artist who made his mark in the competitive London art world. He was a reliable "face-painter" who provided his clients with dignified and characterful likenesses, effectively chronicling the appearance of an age. His portraits of scientists like Sloane and Halley, explorers like Dampier, and aristocrats like the Countess of Grantham, collectively offer a fascinating glimpse into the society he served.
Conclusion: The Enduring Gaze of Thomas Murray's Sitters
Thomas Murray navigated the complex art world of late 17th and early 18th century London with considerable success. As a pupil of John Riley, he inherited a tradition of solid craftsmanship and insightful characterization, which he adapted to the prevailing Baroque tastes. His portraits of royalty, nobility, intellectuals, and professionals stand as a testament to his skill and the esteem in which he was held.
Through works like the Portrait of Henriette D’Auverquerque and the Portrait of Sir Hans Sloane, Murray demonstrated not only his technical proficiency but also his ability to capture the nuances of personality and the details of contemporary fashion and status. He worked alongside and in competition with giants like Sir Godfrey Kneller and Michael Dahl, yet maintained a distinct and respected practice.
Today, Thomas Murray's paintings offer more than just historical records; they provide a connection to the individuals who shaped and inhabited Britain during a period of profound change. His careful rendering of faces allows us to meet, in a sense, the people of the past, their gazes preserved through Murray's diligent art. He remains an important figure for understanding the rich tapestry of British portraiture and the society it reflected.
