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In the coronation year of Queen Victoria, the American portrait painter Thomas Sully received the commission to paint the young woman. The ruler of the world's largest empire at the time and the sovereign artist were both on familiar ground and yet the commission became something very special for both of them. Queen Victoria sat in the royal portrait studio almost daily during the first phase of her reign and was eager to have her portrait painted. In March 1838, Victoria had her first session with Thomas Sully. "Am I in the position you require Mr. Sully?" asked the Queen? What happened next was arguably unique in the history of majestic portraiture: the painter was allowed to guide the Queen's body into the pose he desired. Enraptured by the portrait session, she noted the evening's encounter with Thomas Sully in her diary. The result is a beautiful depiction. Victoria is in a state of motion, walking towards the throne and turning her head as if responding to a call. It is a moment that seems personal and alive.
The life journey of Thomas Sully hides the reasons that might have led to this intimate collaboration. Sully was born in England. His parents emigrated to America with their sons and settled in South Carolina. Thomas decided to pursue an artistic education and returned to his homeland to study. He took lessons from Benjamin West, whose painting style impressed him so much that he adopted it. Sully concentrated on painting portraits. Back in America, the artist settled in Philadelphia and quickly gained a reputation as one of the best portraitists in the country. Thomas Sully developed vivid and expressive full-body portraits that had a positive impact on his career. At a time when American financial markets were weakening, Sully planned his return to England. Accompanied by his daughter, the painter was about to embark on a study trip when the commission for the Queen's portrait arrived. Thomas Sully was familiar with courtly protocol and the painter still had close ties to the country of his birth, but he lacked a fearsome respect for it. The American painter with English roots encountered the monarchy on an interpersonal level.
Sully understood how to play with his clients' aesthetic perceptions. Although he was allowed to paint prominent politicians and military heroes of his day, it was the depictions of society's women that made him famous. Picturesque, flowing and highly romantic are the images of the fine ladies. Sully fulfilled the desire for idealized beauty and a shade more elegance than was actually present. His perfect brushwork creates the impression of flawlessness and conjures up works that, beyond reality, present a feminine image of femininity.
In the coronation year of Queen Victoria, the American portrait painter Thomas Sully received the commission to paint the young woman. The ruler of the world's largest empire at the time and the sovereign artist were both on familiar ground and yet the commission became something very special for both of them. Queen Victoria sat in the royal portrait studio almost daily during the first phase of her reign and was eager to have her portrait painted. In March 1838, Victoria had her first session with Thomas Sully. "Am I in the position you require Mr. Sully?" asked the Queen? What happened next was arguably unique in the history of majestic portraiture: the painter was allowed to guide the Queen's body into the pose he desired. Enraptured by the portrait session, she noted the evening's encounter with Thomas Sully in her diary. The result is a beautiful depiction. Victoria is in a state of motion, walking towards the throne and turning her head as if responding to a call. It is a moment that seems personal and alive.
The life journey of Thomas Sully hides the reasons that might have led to this intimate collaboration. Sully was born in England. His parents emigrated to America with their sons and settled in South Carolina. Thomas decided to pursue an artistic education and returned to his homeland to study. He took lessons from Benjamin West, whose painting style impressed him so much that he adopted it. Sully concentrated on painting portraits. Back in America, the artist settled in Philadelphia and quickly gained a reputation as one of the best portraitists in the country. Thomas Sully developed vivid and expressive full-body portraits that had a positive impact on his career. At a time when American financial markets were weakening, Sully planned his return to England. Accompanied by his daughter, the painter was about to embark on a study trip when the commission for the Queen's portrait arrived. Thomas Sully was familiar with courtly protocol and the painter still had close ties to the country of his birth, but he lacked a fearsome respect for it. The American painter with English roots encountered the monarchy on an interpersonal level.
Sully understood how to play with his clients' aesthetic perceptions. Although he was allowed to paint prominent politicians and military heroes of his day, it was the depictions of society's women that made him famous. Picturesque, flowing and highly romantic are the images of the fine ladies. Sully fulfilled the desire for idealized beauty and a shade more elegance than was actually present. His perfect brushwork creates the impression of flawlessness and conjures up works that, beyond reality, present a feminine image of femininity.