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    Portrait of Flora MacDonald

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    Portrait of Flora MacDonald
    Portrait of Flora MacDonald
    Portrait of Flora MacDonald
    National Portrait Gallery, London
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    Artist
    Richard Wilson (1713/14-1782)
    Title
    Portrait of Flora MacDonald
    Date
    1747 (undated)
    Medium
    Oil on canvas
    Dimensions
    Metric: 117.4 x 94 cm
    Imperial: 46 1/4 x 37 in.
    Collection
    National Portrait Gallery, London. To license images click here.
    Accession Number
    NPG 5848
    Wilson Online Reference
    P17A
    Description
    Flora MacDonald is shown dressed in a blue version of a Van Dyck costume, with a tartan bow at her chest. She sits three-quarter-length, full face, before a rocky promontory, as Prince Charles Edward Stuart ('Bonnie Prince Charlie' or 'The Young Pretender') and companions are rowed to safety against the sunset behind to the left. In her folded hands she holds a letter with a prominent seal.
    Provenance
    Anon sale, Sotheby's 20 November 1985 (42); bt for the National Portrait Gallery by Leggatt Brothers, 17 Duke Street St James's, London SW1Y 6DB
    Signature/inscription
    Unsigned; no inscription
    Subject
    Flora MacDonald (1722-1790) was the daughter of a Hebrides farmer who helped Prince Charles Edward Stuart ('Bonnie Prince Charlie') to reach the island of Skye after his defeat by the English forces at the Battle of Culloden in 1746. She was captured by HMS Furnace on the Isle of Skye in July 1746 and was soon transferred to London and imprisoned in the Tower. Released in July 1747, she remained in London for almost a year, enjoying distinguished company through her hostess, Lady Primrose, including that of Frederick, Prince of Wales, in whose circle Wilson had patrons.James Boswell, who introduced her to Samuel Johnson in 1775, characterised her as 'a little woman of a genteel appearance, and uncommonly mild and well bred.'
    Versions
    See 'Links' tab
    Related Works by Other Artists
    Thomas Hudson, Flora Macdonald with Miniature of Prince Charles Edward Stuart, 1747, location unknown
    Critical commentary
    The present portrait and P17 probably date from the sitter's stay in London in 1747 with Lady Primrose, whom Flora recalled as insisting on her 'sitting to some of the first artists.' The vagueness of the setting, especially of the headland behind the sitter may lead to the supposition that the painting was never finished. Pearls, bow and sealed letter may all allude symbolically to her links with the Young Pretender, while the setting sun - a unique instance of this proto-Romantic phenomenon in Wilson's portraiture - may indicate his fall from power and influence.
    Bibliography
    D. Saywell & J. Simon, Complete Illustrated Catalogue, National Portrait Gallery, London, 2004, p. 399; Solkin 1982, p. 146, n. 2
    More Information
    Wilson's friendship with Flora MacDonald's captor, Thomas Smith and his patrons from the circle of the Prince of Wales, probably account for this commission, rather than any Jacobite sympathies. The patron in this instance remains unknown, though J.W. Croker, in his notes to James Boswell's Life of Samuel Johnson, recorded that, in addition to the half-length presented to another captor, Nigel Gresley [P!7], a second portrait had been given to Smith. In view of Wilson's friendship with the latter such a commission remains a possibility.
    Condition/Conservation
    In good condition overall, the painting has undergone no major recent conservation. The carved wood frame is later, probably early 19th century. It has been regilded.
    Kate Lowry has noted: Pale grey ground, plain weave canvas, turnover edges lost at time of glue-lining. Modern seven member stretcher dates from relining. Face is very well-finished over a dark grey underpaint in typical Wilson style, whilst her lace collar and cuffs and landscape are less finished, possibly even unfinished. Under UV there are minor retouches in the background and sitter's chest, but no major damages or repairs. Upon acquisition the work was surface-cleaned and more recently a small paint flake was consolidated in the sitter's cuff. Otherwise no further treatment has been carried out.

    Work of Art

    Versions

    • Richard Wilson (1713/14-1782) Portrait of Flora MacDonald, Scottish National Portrait Gallery, Edinburgh

    Biographies

    • Admiral Thomas Smith (1707-1762)

    Documents

    • David Solkin, Richard Wilson: The Landscape of Reaction
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