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Portrait of a Woman
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This unknown sitter has greenish-gray eyes and curly brown hair falling to the back of her neck. She wears a white lace-bordered mob cap with a bow at the top and ruffle under the chin. Her brown dress of dotted Swiss cotton has a narrow white collar. Handwoven during this period, dotted Swiss was a delicate fabric used for summer dresses. Both the Swiss dot gown and the mob cap give the sitter a casual, country air at odds with the approaching vogue for dressing in a style more classically inspired. The background sky is light blue and gray, with crosshatching increasingly worked increasingly close to the figure. The color palette is confined to browns and muddy blues. This miniature, painted close to 1800, is a charming example of Andrew Plimer’s doll aesthetic, seen in the sitter’s round face, tiny mouth, and large eyes. Plimer was an extremely prolific artist, which helps account for the fact that many of his female sitters look alike.
| Artist / Maker | Andrew Plimer |
|---|---|
| Date | late 1790s |
| Culture / Origin | England, 18th -19th century |
| Medium | watercolor on ivory in a gold frame with glazed reverse |
| Dimensions | Framed: 8.5 x 7.2 cm (3 3/8 x 2 13/16 in.); Sight: 8 x 6.5 cm (3 1/8 x 2 9/16 in.) |
| Department | European Painting and Sculpture |
| Type | Portrait Miniature |
About the Artist
Born the 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 enamellist, Henry Bone, whereas Andrew became the valet to the portrait and miniature painter, Richard Cosway. Cosway discovered… Full biography →
Provenance & Source
Image & data: Cleveland Museum of Art, CC0 / Public Domain.
Condition
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