William Larkin, an enigmatic yet pivotal figure in English art, stands as one of the most distinctive portrait painters of the Jacobean era. Active primarily between 1609 and his untimely death in 1619, Larkin's works are celebrated for their meticulous rendering of costume, their vibrant, almost abstract quality, and their unique insight into the opulent world of the court of King James I. Though his career was brief, his legacy, rediscovered in the mid-20th century, offers a fascinating window into a transitional period in British art, poised between the iconic traditions of Elizabethan portraiture and the burgeoning naturalism that would soon arrive with artists like Van Dyck.
A Life Shrouded in Some Obscurity
The precise details of William Larkin's early life remain somewhat elusive, a common challenge when studying artists of this period who were not consistently in royal service. He is believed to have been born in London around 1580. Parish records from St Sepulchre-without-Newgate, London, note the burial of a "William Larkin, householder" on 14 April 1619, which is widely accepted as the artist. There is also a record of a William Larkin, son of William Larkin, being baptised in the same church in 1584, which could refer to the painter or a relative. Some scholars have suggested a connection to a tavern-keeper of the same name operating near St. Paul's Cathedral, which, if true, would place him within the bustling heart of the city's commercial and social life.
Despite the scarcity of personal documentation, Larkin's professional associations provide some clues. A significant connection appears to have been with Robert Peake the Elder (c. 1551–1619), a prominent painter who held the office of Serjeant Painter to King James I jointly with John de Critz. Peake was a well-established figure, known for his portraits of royalty and nobility. It is highly probable that Peake served as Larkin's mentor, guiding his entry into the competitive world of London portraiture. Both artists resided in the Holborn area, near St. Sepulchre's, fostering an environment where artistic exchange and influence were likely. Peake himself was part of a dynasty of painters, and his workshop would have been a hub of activity.
Larkin does not seem to have held an official salaried position at court, unlike contemporaries such as John de Critz or Marcus Gheeraerts the Younger. However, his clientele clearly consisted of high-ranking members of the aristocracy and gentry, indicating that his reputation and skill were highly valued within these influential circles. His patrons were individuals who sought to project their status and wealth through art, and Larkin's particular talents were perfectly suited to this purpose.
The Jacobean Context: A World of Spectacle
To fully appreciate Larkin's art, one must understand the Jacobean era (1603-1625) in which he worked. Following the long reign of Elizabeth I, the accession of James I (James VI of Scotland) brought a new dynasty and a somewhat different cultural atmosphere to England. The Jacobean court was known for its lavishness, its masques, its elaborate fashions, and a certain intellectual curiosity. Portraiture continued to be a vital tool for social and political expression, a means by which individuals could assert their lineage, power, and sophistication.
Fashion during this period was extravagant. Men and women alike wore richly embroidered fabrics, intricate lace collars and cuffs (often starched ruffs or falling bands), and an abundance of jewellery. Silks, satins, and velvets in vibrant colours were commonplace among the elite. This emphasis on outward display provided fertile ground for a painter like Larkin, whose meticulous attention to detail could capture the sheer splendour of his sitters' attire. His paintings are, in many ways, documents of Jacobean material culture.
The artistic landscape in England at this time was still heavily influenced by Netherlandish traditions, with many prominent painters either being immigrants or having trained in that style. The iconic, somewhat flat, and pattern-rich style of Elizabethan portraiture, exemplified by artists like Nicholas Hilliard (though primarily a miniaturist, his influence on larger-scale portraiture was significant) and George Gower, was gradually evolving. There was a growing, albeit slow, interest in greater naturalism and psychological depth, but the emphasis on status through costume and heraldry remained paramount. Larkin's work sits interestingly within this transition, retaining much of the decorative intensity of the earlier period while also displaying a unique personal vision.
The Signature Style: "The Curtain Master"
William Larkin's artistic style is highly distinctive and has led to him being dubbed "The Curtain Master" by some art historians, notably Sir Roy Strong, who was instrumental in re-attributing works to Larkin in the 1960s. This moniker refers to a recurring motif in his full-length portraits: his subjects are often depicted standing on richly patterned Turkey carpets, flanked by heavy, elaborately draped silk curtains. These curtains, often rendered in shimmering, almost iridescent colours, create a shallow, stage-like space for the figure, enhancing the sense of theatricality and formal presentation.
The rendering of textiles is perhaps Larkin's most celebrated skill. He painted lace with an astonishing delicacy, capturing its intricate patterns and airy lightness. Embroidery, whether gold or silver thread or coloured silks, is depicted with a jeweller's precision. The sheen of satin, the plushness of velvet, and the complex weave of expensive carpets are all brought to life with a vibrant palette and a keen eye for texture. This was not mere decoration; it was a language of status. The cost of such materials was exorbitant, and their depiction in a portrait was a clear statement of the sitter's wealth and social standing.
Larkin's figures often possess a certain aloofness and a somewhat stiff, hieratic pose, characteristic of much Jacobean portraiture. There is less emphasis on capturing fleeting expressions or deep psychological insight, and more on presenting an idealized, almost iconic image of the individual. Faces are often smoothly rendered, with a cool, even light that minimizes shadow and emphasizes the linear quality of the features. This approach has sometimes been described as an extension of the aesthetic found in English miniature painting, a field dominated by artists like Nicholas Hilliard and Isaac Oliver, where clarity of line and brilliance of colour were highly prized. Larkin seems to translate this miniature sensibility to a larger scale.
The overall effect of a Larkin portrait is one of dazzling, almost hallucinatory, detail. The surfaces are alive with pattern and colour, creating a visual richness that can be overwhelming. Yet, there is also a curious flatness, a deliberate rejection of deep perspectival space, which contributes to their abstract, decorative quality. This makes his work stand apart from the more naturalistic trends developing elsewhere in Europe, for instance, in the work of Peter Paul Rubens or the early portraits of Anthony van Dyck, who would later revolutionize English portraiture.
Representative Works and Their Characteristics
Several key works are attributed to William Larkin, many of which form part of the Suffolk Collection, now housed at Kenwood House, London, though some were previously at Ranger's House. These portraits, often of members of the Howard family and their circle, provide the core of his known oeuvre.
One of the most famous sets of paintings attributed to Larkin is the series of nine full-length portraits, including those of Richard Sackville, 3rd Earl of Dorset, and his wife, Lady Anne Clifford. The portrait of Richard Sackville, 3rd Earl of Dorset (1613), is a quintessential example of Larkin's style. The Earl stands confidently, one hand on his hip, the other resting on a table covered with a richly patterned cloth. He is dressed in an extravagantly embroidered white silk doublet and hose, adorned with lace and ribbons. The floor is covered with a vibrant Turkey carpet, and heavy silk curtains frame the composition. The attention to the texture of the silk, the intricacy of the lace, and the metallic gleam of the embroidery is breathtaking.
Similarly, the portrait of Diana Cecil, Countess of Oxford (later Countess of Elgin) (c. 1614-1618), showcases Larkin's ability to render female costume with equal brilliance. She is depicted in a magnificent white satin gown, heavily embroidered with floral motifs in coloured silks and gold thread. A vast lace ruff frames her face, and jewels adorn her hair and dress. Again, the Turkey carpet and draped curtains create the characteristic Larkin setting. The painting is a symphony of texture and pattern, celebrating the sitter's beauty and, just as importantly, her immense wealth and status.
Another notable work is the portrait of George Villiers, later 1st Duke of Buckingham (c. 1616). Villiers was a rising favourite of King James I, and his portrait by Larkin captures him at a pivotal moment in his ascent. Dressed in resplendent white satin, adorned with pearls and lace, Villiers exudes an air of youthful confidence and ambition. The painting is a testament to the power of courtly favour and the role of portraiture in cementing a public image.
The portrait of Mary, Lady Vere (c. 1615-1618) is another fine example, showing her in an elaborate black dress, which provides a dramatic contrast to the intricate white lace of her ruff and cuffs, and the colourful embroidery on her stomacher. The somberness of the black fabric only serves to highlight the richness of its embellishments.
Larkin also painted portraits on a smaller scale, often on copper, which lent a particular luminosity to the paint surface. An example is the portrait of Edward Herbert, 1st Baron Herbert of Cherbury (c. 1610-1614), depicted reclining in a landscape, a more informal pose than his full-length court portraits, yet still rendered with characteristic attention to detail in the costume and features. This work shows a slightly different facet of his talent, engaging with pastoral conventions.
These works, and others attributed to him, share common features: the emphasis on luxurious textiles, the use of vibrant, often unmodulated colours, the shallow pictorial space defined by curtains and carpets, and a certain elegant stiffness in the poses of the sitters. The faces, while individualized, often have a smooth, almost porcelain-like quality.
Contemporaries and Artistic Milieu
William Larkin operated within a vibrant, if somewhat insular, London art scene. As mentioned, Robert Peake the Elder was likely a key influence and mentor. Peake's own style, while also detailed, often has a slightly more robust and less ethereal quality than Larkin's.
Nicholas Hilliard (c. 1547–1619), the pre-eminent miniaturist of the Elizabethan and early Jacobean periods, undoubtedly cast a long shadow. While Hilliard worked primarily on a small scale, his emphasis on linear clarity, brilliant colour, and the intricate depiction of jewels and costume details set a standard for English portraiture. Larkin's work can be seen as translating some of these "limning" aesthetics to oil painting on panel or canvas.
Isaac Oliver (c. 1565–1617), Hilliard's main rival in the field of miniature painting, introduced a greater degree of chiaroscuro (the use of light and shadow to model form) and psychological depth into his miniatures, reflecting continental influences. While Larkin's style remained more linear, the presence of artists like Oliver indicated a gradual shift in taste.
Marcus Gheeraerts the Younger (c. 1561/62–1636) was another leading portrait painter in England, of Flemish origin. He was particularly prominent in the later Elizabethan and early Jacobean period. His style was elegant and refined, and he was adept at capturing the likenesses of his sitters. His work, like Larkin's, emphasized the richness of costume, though perhaps with a slightly softer, more naturalistic touch at times.
John de Critz (c. 1551/52–1642), who shared the office of Serjeant Painter with Peake, was also a significant figure. Of Flemish descent, his work is less easily identifiable today due to the collaborative nature of workshop production and the loss of many documented paintings. However, as a court painter, he was part of the established artistic hierarchy.
Other painters active during or around Larkin's time included Paul van Somer (c. 1576–1621), a Flemish artist who arrived in England around 1616. Van Somer brought a more sophisticated, continental style that began to gain favour, characterized by greater naturalism and a more relaxed monumentality in his figures. His arrival marked a step towards the changes that would sweep English portraiture in the coming decades.
The artistic environment was one where patronage was key. Artists often relied on networks of clients, and styles could be influenced by the specific demands and tastes of these patrons. The relative isolation of England from the major artistic centres of Italy and the Netherlands meant that artistic developments often arrived more slowly, leading to the persistence of styles that might have seemed archaic elsewhere in Europe.
Larkin's Technique and Materials
Larkin typically painted on panel for his smaller works and canvas for his full-length portraits. His technique involved careful underdrawing, over which he applied layers of paint to build up the rich colours and textures. His use of colour was often bold and direct, with less of the subtle glazing and sfumato (softening of outlines) seen in Italian Renaissance painting. This contributed to the bright, almost enamelled surface quality of his work.
The depiction of "Turkey carpets" (referring to carpets imported from the Ottoman Empire) is a notable feature. These were luxury items, symbols of wealth and cosmopolitan taste. Larkin rendered their complex geometric and floral patterns with great care, often using them as a vibrant foreground element that anchored the composition. Similarly, the silk curtains, with their elaborate folds and shimmering highlights, were not just backdrops but active components of the design, contributing to the overall decorative effect.
His attention to the minutiae of costume – the individual threads of embroidery, the delicate weave of lace, the precise fall of a ribbon – suggests a painstaking, almost meditative approach to painting. This level of detail would have been highly appreciated by his sitters, for whom these garments were significant investments and potent symbols of their identity.
The End of a Career and a Stylistic Shift
William Larkin died in April 1619. His death coincided with that of Robert Peake the Elder and Nicholas Hilliard, all within a short span. This marked something of an end of an era for English painting. The highly decorative, linear style that had characterized much Elizabethan and early Jacobean portraiture was beginning to give way to new influences.
The arrival of artists like Daniel Mytens (c. 1590–1647) from The Hague around 1618, and later, more decisively, Anthony van Dyck (1599–1641) in 1632, would transform English portraiture. These artists brought a more sophisticated understanding of anatomy, a greater sense of three-dimensionality, more dynamic poses, and a deeper psychological engagement with their sitters. Van Dyck, in particular, would establish a new paradigm for aristocratic portraiture in England, one characterized by effortless elegance and Baroque dynamism. His influence was so profound that it shaped British portraiture for centuries.
Even before Van Dyck, artists like Cornelius Johnson (1593–1661), born in London to Flemish/German parents, were already working in a more naturalistic and psychologically sensitive vein than Larkin. The taste for the kind of iconic, jewel-like portraiture that Larkin excelled at was waning. The intellectual and artistic currents from continental Europe, including the burgeoning Baroque style championed by artists like Peter Paul Rubens (who briefly visited England) and the classicism of Italian painters like Orazio Gentileschi and his daughter Artemisia Gentileschi (both of whom worked in England for a period), were beginning to make their mark.
Rediscovery and Legacy
After his death, William Larkin's name and work fell into relative obscurity for centuries. Many of his paintings were misattributed to other artists, such as Marcus Gheeraerts the Younger, or simply labelled "English School." It was not until the mid-20th century that art historians, notably James Lees-Milne in an article in 1952, began the process of identifying and re-attributing a coherent body of work to him. This process was significantly advanced by the research of Sir Roy Strong in the 1960s, particularly in connection with the Suffolk Collection portraits.
The rediscovery of Larkin was a significant event for the study of English art. It revealed a highly individual talent who, for a brief period, produced some of the most visually stunning portraits of the Jacobean age. His work provides invaluable insight into the culture, fashion, and social aspirations of the English elite during this period.
Today, William Larkin is recognized as a master of Jacobean portraiture. His paintings are admired for their decorative brilliance, their meticulous craftsmanship, and their unique aesthetic. While his style may seem somewhat archaic when compared to the continental Baroque, it possesses a powerful charm and a distinctively English character. He represents a fascinating moment in British art history, a final, brilliant flourishing of an older tradition before new artistic forces reshaped the landscape. His ability to capture the sheer opulence and theatricality of the Jacobean court remains unparalleled, securing his place as a unique and important artist. His works are not just portraits; they are dazzling tapestries of an era defined by its love of spectacle and display.
