Douglas Carpenter on Miniature art
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Colonel Thomas Pinckney, Jr., (1780-1842), 1801, by Edward Greene Malbone (1777-1807), watercolor on
ivory.
Gibbs Museum of Art One of the oldest and finest collections of miniature portraits in the country (U.S.) is on
display. The collection of more than 500 works ranges from the earliest miniatures produced in Charleston in 1740
to 20th century artists such as Leila Waring. It reveals the vitality of the art form during the early decades of
the 19th century, and includes portraits by James Peale, Edward Greene Malbone and Charleston's foremost artist of
the period, Charles Fraser. Below is an example of what is often on view.
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Mrs. Thomas Pinckney, Jr. (Eliza Izard, 1784-1862), 1801, by Edward Greene Malbone (1777-1807),
watercolor on ivory.
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General John McPherson (1756-1806), by Edward Greene Malbone (1777-1807), watercolor
on ivory.
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| Afternoon Tea (A Cup of Tea, Dorothy Thomson Waring), 1923, by Leila Waring (1876-1964),
watercolor on ivory. Leila Waring actively promoted a re-birth of this 18th and 19th century style portraiture. While many of
Waring's miniatures are of family members, she also undertook commissions from other Charlestonians and from visitors to the city.
Her style reflects a preference for a light palette, visual brushwork and informal poses. |
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oil painting by living artist
Douglas Carpenter
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Ann Hathaway's Cottage,
Brenda Carpenter 4" x 5"
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Miniature by John Downman, A.R.A 1750-1824
Portrait of Punell Bransby Cooper aged 5
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The art of miniature painting is many hundreds of years old. The earliest examples in the Western
world are to be found in the illuminated capital letters of ancient church manuscripts. Decorated often with pure gold
leaf, these tiny pictures showed scenes of everyday mediaeval life, scenes from the Bible, or portraits of saints and
angels.
After the invention of the printing press, the skill of the illuminators was turned to the painting
of exquisite miniature portraits for rich merchants and royalty. These jewel-like works of art were small enough to be
held in the palm of the hand and were carried much as we carry family photos today.
With the introduction of photography in the middle of the 19th century, the art of the
miniature was in danger of being lost. However, the 20th century has seen a tremendous increase in interest.
Today there are many fine miniature painters (and, no, we are not all vertically challenged) covering all subjects under
the sun.
he art of miniature painting is many hundreds of years old. The earliest examples in the Western world are to be found
in the illuminated capital letters of ancient church manuscripts. Decorated often with pure gold leaf, these tiny
pictures showed scenes of everyday mediaeval life, scenes from the Bible, or portraits of saints and angels.
After the invention of the printing press, the skill of the illuminators was turned to the painting of exquisite
miniature portraits for rich merchants and royalty. These jewel-like works of art were small enough to be held in the
palm of the hand and were carried much as we carry family photos today.
With the introduction of photography in the middle of the 19th century, the art of the miniature was in
danger of being lost. However, the 20th century has seen a tremendous increase in interest. Today there are
many fine miniature painters (and, no, we are not all vertically challenged) covering all subjects under the sun.
 The art of miniature painting is many hundreds of years old. The earliest examples in the Western
world are to be found in the illuminated capital letters of ancient church manuscripts. Decorated often with pure
gold leaf, these tiny pictures showed scenes of everyday mediaeval life, scenes from the Bible, or portraits of
saints and angels.
After the invention of the printing press, the skill of the illuminators was turned to the painting of exquisite
miniature portraits for rich merchants and royalty. These jewel-like works of art were small enough to be held in the
palm of the hand and were carried much as we carry family photos today.
With the introduction of photography in the middle of the 19th century, the art of the miniature was in
danger of being lost. However, the 20th century has seen a tremendous increase in interest. Today there are
many fine miniature painters (and, no, we are not all vertically challenged) covering all subjects under the
sun.
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The Portrait Miniature in England
Reviews Synopsis
This account of the development of English miniature painting features masterpieces from the Victoria and Albert Museum's
collection. The portrait miniature is a unique art form with its own techniques, painters and history. One of its greatest
exponents, Nicholas Hilliard, called it a "thing apart from other painting", and within the history of Western art it stands
as a particularly English contribution with a flourishing life for nearly 400 years. Miniatures were painted to be viewed and
held closely, to be given away as tokens of loyalty and love. The book offers insights into the society which allowed the art
of the miniaturist to flourish and develop, and takes a fresh look at these delicate works, revealing aspects usually hidden
from view and details which show the techniques used by artists to achieve their effects. |
Katherine Coombs
Availability: usually dispatched within 1-2 weeks.
Hardcover - 128 pages
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Defining Miniature Art
As miniature art has evolved as a niche in today's art market, so has its definition and presentation. Purists of miniature art honor a strict
set of criteria for defining this art as specified by a number of miniature art societies around the world. Traditional criteria for defining
miniature art varies among cultures and miniature societies. On the World Federation of Miniaturists Web site, The Hilliard Society of
Miniaturists, UK, requires that paintings be no larger than 5 x 7 inches, inclusive of framing. Sculptures should not be larger than six inches
in any direction. There are also specific definitions and limitations around the size of content within the painting, such as the fact that
portrait heads not be larger than two inches. Additionally, there are specifications for the frame around a piece of miniature art.
One of the roles of these societies is to set traditional standards for miniature art, which sets a boundary between that which is a classic
piece of miniature art vs. that which is just small. Peck, who has won more than 100 Australian and international awards for her art, holds this
traditional view. "If you can see all there is to see with the naked eye, it is probably a small painting," says Peck. "If you use a magnifying
glass after your moment of aesthetic arrest and find there is layer upon layer of finer detail--then you have a miniature."
But as she points out, miniature art may be more loosely defined in the contemporary art gallery scene in this country. In fact, for
nontraditionalists, the difference between small and miniature may hold less meaning. Melanie Smith, co-owner of the Seaside Art Gallery in Nags
Head, NC, a knowledgeable seller of miniature art, is holding her gallery's 14th annual, juried International Miniature Art Show from May 7 to
June 4, 2005.
When it comes to defining miniature art, Smith says, "What is small vs. miniature matters a great deal to [miniature art] societies, but not
so much to me as a gallery owner. In our show, we require that paintings be no larger than 40 square inches, including the frame. No sculpture
may be larger than six inches in any one direction." When developing the concept of her miniature art show, Smith and her gallery, did however,
look to miniature art societies and their definitions for guidance and then adapted their own criteria.
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