Portrait von Anna Walmesley, 1795. Söhne von einem Uhrmacher, Nathaniel Plimer und seinem jüngeren Bruder Andrew zunächst in den Beruf ihres Vaters ausgebildet, obwohl sie unruhig mit diesem Handel wuchs, und rannte mit Zigeunern für zwei Jahre zu leben. Von 1781, waren zusammen in London, und bestimmt die Praxis Art. Beide sich mit etablierten Künstlern. Nathaniel arbeitete als Knecht des enamelist Henry Knochen, und Andrew wurde der Valet zum Hoch- und Miniaturmaler Richard Cosway. Cosway entdeckte Andrew eine seiner Miniaturen kopieren und stellte ihn auf Miniatur paintin

• Bildanbieter: Heritage Image Partnership Ltd / Alamy Stock Foto
• Bild-ID: 2A53064
• Dateigröße: 137,3 MB (2,9 MB Komprimierter Download)
• Freigaben (Releases): Model - nein | Eigentum - nein
• Format: 6000 x 8000 px | 50,8 x 67,7 cm | 20 x 26,7 inches | 300dpi
• Fotograf: Heritage Art/Heritage Images

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Dieses Bild kann kleinere Mängel aufweisen, da es sich um ein historisches Bild oder ein Reportagebild handel

Portrait of Anna Walmesley, 1795. Sons of a clockmaker, Nathaniel Plimer and his younger brother Andrew initially trained in their father's profession, although they grew restless with this trade, and ran off to live with Gypsies for two years. By 1781, they were together in London, and determined to practice art. Both took up residence with established artists. Nathaniel worked as a servant to the enamelist Henry Bone, and Andrew became the valet to the portrait and miniature painter Richard Cosway. Cosway discovered Andrew copying one of his miniatures and introduced him to miniature painting. Andrew assimilated his master's airy execution and adapted Cosway's linear brushwork that leaves much of the bare ivory visible. He also employed Cosway's use of large, expressive eyes that made his miniatures appear soulfully elegant, earning him high praise among legions of admirers. A quick study, Andrew set up his own studio by 1786 and he exhibited regularly at the Royal Academy of Arts from 1786-1830. Andrew Plimer's works fall into two phases. In the first, his sitters appear more naturalistically rendered than those painted after around 1789. During the earlier period he frequently included his initials, "A.P., " on the front of the miniature, followed by a date. By contrast, he did not sign or date works in the second phase. Furthermore, in Andrew's second phase of work, he reduced his palette and, perhaps due to his high output, sitters share many visual characteristics; in particular, his women have elongated necks, long noses, and large appealing eyes.

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