Editing Thomas Lawrence (section)

== Biography ==
=== Childhood and early career ===
[[File:The Bear Hotel - geograph.org.uk - 4579356.jpg|thumb|[[Bear Hotel, Devizes|The Bear Hotel]], [[Devizes]]]]
Lawrence was born at 6 Redcross Street, [[Bristol]], the youngest surviving child of Thomas Lawrence, a supervisor of [[excise]], and Lucy Read, a clergyman's daughter from [[Tenbury Wells]] in [[Worcestershire]].<ref>Levey p.30</ref> They had 16 children, but only five survived infancy: Lawrence's brother Andrew became a clergyman; William had a career in the army; and sisters Lucy and Anne married a solicitor and a clergyman (Lawrence's nephews included [[Andrew Bloxam]]). Soon after Thomas was born, his father decided to become an innkeeper and took over the White Lion Inn and next-door American Coffee House in [[Broad Street, Bristol|Broad Street]], Bristol. But the venture did not prosper, and in 1773 Lawrence senior removed his family from Bristol and took over the tenancy of the Black Bear Inn in Devizes,<ref group=note>The Black Bear is still a hotel.</ref> a favourite stopping place for the London gentry making their annual trip to take the waters at Bath.<ref>Goldring 1951: 28</ref>

[[File:MariaLinley.jpg|thumb|An early pastel portrait of [[Maria Linley#Life|Maria Linley]]]]
It was during the family's six-year stay at the Black Bear Inn that Lawrence senior began to make use of his son's precocious talents for drawing and reciting poetry. Visitors would be greeted with the words "Gentlemen, here's my son—will you have him recite from the poets, or take your portraits?" Among those who listened to a recitation from Tom, or Tommy as he was called, was actor [[David Garrick]].<ref>Goldring 1951: 35</ref> 

Lawrence's formal schooling was limited to two years at The Fort, a school in Bristol, when he was six to eight; and a little tuition in French and Latin from a dissenting minister.<ref>Goldring 1951: 29</ref> He also became accomplished in dancing, fencing, boxing and billiards.<ref>Annual Review 1830</ref> By age ten his fame had spread sufficiently for him to receive a mention in [[Daines Barrington]]'s ''Miscellanies'' as "without the most distant instruction from anyone, capable of copying historical pictures in a masterly style".<ref>Goldring 1951: 40</ref> But once again Lawrence senior failed as a landlord; in 1779, he was declared bankrupt and the family moved to [[Bath, Somerset|Bath]]. From this point on, Lawrence supported his parents with his portrait work.

The family settled at 2 Alfred Street in Bath, and the young Lawrence established himself as a portraitist in [[pastel]]s. His oval portraits, for which he was soon charging three guineas, were about 12&nbsp;inches by 10&nbsp;inches (30 by 25 centimetres), and usually portrayed a half-length. His sitters included [[Georgiana Cavendish, Duchess of Devonshire|the Duchess of Devonshire]], [[Sarah Siddons]], [[Sir Henry Harpur, 6th Baronet|Sir Henry Harpur]] (of [[Calke Abbey]], Derbyshire, who offered to send Lawrence to Italy, but Lawrence senior refused to part with his son), [[Warren Hastings]], and [[Elijah Impey|Sir Elijah Impey]].<ref>Levey 2005: 49–59</ref> Talented, charming and attractive (and surprisingly modest) Lawrence was popular with Bath residents and visitors. Artists [[William Hoare]] and Mary Hartley gave him encouragement.<ref>Levey 2005: 43</ref> Wealthy people allowed him to study their collections of paintings, and Lawrence's drawing of a copy of [[Raffaello Santi|Raphael's]] ''Transfiguration'' was awarded a [[silver-gilt]] palette and a prize of 5 guineas by the Society of Arts in London.<ref>Levey 2005: 56</ref>

=== "Always in love and always in debt" ===
[[File:Queen Charlotte by Sir Thomas Lawrence 1789.jpg|thumb|upright=1.2|left|''[[Portrait of Queen Charlotte (Lawrence)|Portrait of Queen Charlotte]]'' (1789). Lawrence's first royal commission: [[Charlotte of Mecklenburg-Strelitz|Queen Charlotte]], wife of [[George III]]]]

Sometime before his eighteenth birthday in 1787 Lawrence arrived in London, taking lodgings in Leicester Square, near to [[Joshua Reynolds]]' studio. He was introduced to Reynolds, who advised him to study nature rather than the Old Masters. Lawrence set up a studio at 41 Jermyn Street and installed his parents in a house in Greek Street. He exhibited several works in the 1787 Royal Academy exhibition at [[Somerset House]], and enrolled as a student at the [[Royal Academy]] but did not stay long, abandoning the drawing of classical statues to concentrate on his portraiture. 

At the Royal Academy exhibition of 1788 he was represented by five portraits in pastels and one in oils, a medium he quickly mastered. Between 1787 and his death in 1830 he missed only two of the annual exhibitions: in 1809, protesting how his paintings had been displayed; and in 1819, because he was abroad. In 1789 he exhibited 13 portraits, mostly in oil, including one of [[William Linley]] and one of Lady Cremorne, his first attempt at a full-length portrait.<ref>Levey 2005: 77–79</ref> They received favourable comments in the press, with one critic referring to him as "the [[Joshua Reynolds|Sir Joshua]] of futurity not far off". Aged just 20, Lawrence received his first royal commission, a summons arriving from Windsor Palace to paint the portraits of [[Charlotte of Mecklenburg-Strelitz|Queen Charlotte]] and [[Princess Amelia of the United Kingdom|Princess Amelia]].<ref>Levey 2005: 76–77</ref> 

The queen found Lawrence presumptuous (although he made a good impression on the princesses and ladies-in-waiting) and she did not like the finished portrait, which remained in Lawrence's studio until his death. When it was exhibited at the Royal Academy in 1790, however, it received critical acclaim.<ref>Levey 2005: 85–90</ref> Also shown that year was another of Lawrence's most famous portraits, that of actress [[Elizabeth Farren]], soon to be the Countess of Derby, "completely Elizabeth Farren: arch, spirited, elegant and engaging", according to one newspaper.<ref>Levey 2005: 92</ref>
[[File:Microcosm of London Plate 002 - Exhibition at Somerset House by Thomas Rowlandson and Augustus Pugin. 1800..jpg|thumb|upright=1.25|Lawrence exhibited in 40 [[Royal Academy of Arts|Royal Academy]] annual exhibitions.]]
In 1791 Lawrence was elected an associate of the Royal Academy and the following year, on the death of Sir [[Joshua Reynolds]], [[King George III]] appointed him [[Principal Painter in Ordinary|"painter-in-ordinary to his majesty"]].<ref>Levey 2005: 93</ref> His reputation was established, and he moved to a studio in Old Bond Street. In 1794 he became a full member of the Royal Academy.<ref>Levey: 109</ref>

Although commissions were pouring in, Lawrence was in financial difficulties. His debts stayed with him for the rest of life. He narrowly avoided bankruptcy, had to be bailed out by wealthy sitters and friends, and died insolvent. Biographers have never been able to discover the source of his debts; he was a prodigiously hard worker (once referring in a letter to his portrait painting as "mill-horse business")<ref>Levey 2005: 137</ref> and did not appear to live extravagantly. Lawrence himself said: "I have never been extravagant nor profligate in the use of money. Neither gaming, horses, curricles, expensive entertainments, nor secret sources of ruin from vulgar licentiousness have swept it from me".<ref>Lawrence, Sir Thomas ''Dictionary of national biography'', vol. 32, 1892: 278–285</ref> 
[[File:Sally Siddons by Thomas Lawrence.jpg|thumb|upright=1.2|left|Lawrence was in love with [[Sarah Siddons]]' daughter Sally. Painting by Thomas Lawrence, eighteenth century.]]
Another source of unhappiness in Lawrence's life was his romantic entanglement with two of Sarah Siddons' daughters. He fell in love first with Sally, then transferred his affections to her sister Maria, then broke with Maria and turned to Sally again. Both sisters had fragile health; Maria died in 1798, on her deathbed extracting a promise from her sister never to marry Lawrence. Sally kept her promise and refused to see Lawrence again; she died in 1803. Lawrence continued on friendly terms with their mother and painted several portraits of her. He never married. In later years, two women provided him with companionship — friends Elizabeth Croft, and Isabella Wolff, who met Lawrence when she sat for her portrait in 1803. Isabella was married to Danish consul Jens Wolff, but she separated from him in 1810. Sir Michael Levey suggests that people may have wondered if Lawrence was the father of her son Herman.<ref>Levey 2005: 194, 263</ref>

Lawrence's departures from portraiture were very rare. In the early 1790s he completed two history pictures: ''[[Homer Reciting his Poems]]'', a small picture of the poet in a pastoral setting; and ''Satan summoning his legions'', a giant canvas illustrating lines from [[John Milton]]'s [[Paradise Lost]].<ref>[http://www.racollection.org.uk/ixbin/indexplus?record=ART389&session=OVO3AeCglt_ Royal Academy of the Arts Collections artist of the month: Sir Thomas Lawrence] features ''Satan summoning his legions''.</ref> Boxer [[John Jackson (English boxer)|John Jackson]] posed for the naked body of Satan; the face is that of Sarah Siddons' brother, [[John Philip Kemble]].<ref>Goldring 1951: 110</ref>

[[File:Satan summoning his Legions, 1796-1797 by Sir Thomas Lawrence.jpg|thumb|''Satan summoning his Legions'', 1796–1797]]
Lawrence's parents died within a few months of each other in 1797. He gave up his house in Picadilly, where he had moved from Old Bond Street, to set up his studio in the family home in Greek Street. By now, to keep up with the demand for replicas of his portraits, he was using studio assistants, most notable of whom were [[William Etty]] and [[George Henry Harlow]].<ref>{{cite book |last=Garlick |first=Kenneth |date=1989 |title=Sir Thomas Lawrence: A Complete Catalogue of the Oil Paintings |location=Oxford |publisher=Phaidon |page=25 }}</ref>

The early years of the 19th century saw Lawrence's portrait practice continue to flourish. Amongst his sitters were major political figures such as [[Henry Dundas, 1st Viscount Melville]] and [[William Lamb, 2nd Viscount Melbourne]], whose wife [[Lady Caroline Lamb]] he also painted. The king commissioned portraits of his daughter-in-law [[Caroline of Brunswick|Caroline]], the estranged wife of the [[George IV|Prince of Wales]]; and his granddaughter [[Princess Charlotte of Wales (1796–1817)|Charlotte]]. Lawrence stayed at Montague House, the princess's residence in Blackheath, while he was painting the portraits and thus became implicated in the "[[delicate investigation]]" into Caroline's morals. He swore an affidavit that although he had on occasion been alone with her, the door had never been locked or bolted and he had "not the least objection for all the world to have heard or seen what took place".<ref>Goldring 1951: 213–219</ref> Expertly defended by [[Spencer Perceval]], he was exonerated.

=== "Pictorial chronicler of the Regency" ===
[[File:Sir Arthur Wellesley, 1st Duke of Wellington.jpg|thumb|left|''[[Portrait of the Duke of Wellington (Lawrence)|Portrait of the Duke of Wellington]]'' in 1815, later used on the [[Bank of England £5 note|Five Pound Note]]]]

By the time the Prince of Wales was made regent in 1811, Lawrence was acknowledged as the country's foremost portrait painter. Through one of his sitters, [[Charles Vane, 3rd Marquess of Londonderry|Lord Charles Stewart]] who he [[Portrait of Sir Charles Stewart|painted in Hussar uniform]], he met the Prince Regent who became his most important patron. As well as portraits of himself, the prince commissioned portraits of allied leaders [[Arthur Wellesley, 1st Duke of Wellington|the Duke of Wellington]], [[Gebhard Leberecht von Blücher|Field-Marshal von Blücher]] and [[Matvei Platov|Count Platov]], who sat for Lawrence at his new house at 65 Russell Square. (The house was demolished in the early 20th century to make way for the Imperial Hotel.) ''The private sitting-room of Sir Thomas Lawrence'' shows Lawrence at 65 Russell Square, surrounded by casts of classical sculpture.<ref>Levey 2005: 174-175, 190</ref><ref>{{cite web |url=http://www.npg.org.uk/collections/search/largerimage.php?mkey=mw195502&LinkID=mp02654&role=sit&rNo=9 |title=The Private Sitting Room of Sir Thomas Lawrence |work=National Portrait Gallery}}</ref>  The prince also had plans for Lawrence to travel abroad and paint foreign royalty and leaders, and as a preliminary he was given a [[Knight Bachelor|knighthood]] on 22 April 1815. Napoleon's return from [[Elba]] put these plans on hold, although Lawrence did make a visit to Paris, where his friend Lord Charles Stewart was ambassador, and saw the art that Napoleon had looted from Italy, including Raphael's ''[[Transfiguration (Raphael)|Transfiguration]]'', the painting he had reproduced for his silver-gilt palette as a boy.<ref>Levey 2005: 198</ref>

[[File:Sir Thomas Lawrence - Pope Pius VII (1742-1823) - Google Art Project.jpg|thumb|upright|Lawrence painted a ''[[Portrait of Pope Pius VII (Lawrence)|Portrait of Pope Pius VII]]'' in Rome in 1819]]
In 1817 the prince commissioned Lawrence to paint a portrait of his daughter [[Princess Charlotte of Wales (1796–1817)|Princess Charlotte]], who was pregnant with her first child. Charlotte died in childbirth; Lawrence completed the portrait and presented it to her husband [[Leopold I of Belgium|Prince Leopold]] at [[Claremont (country house)|Claremont]] on his birthday, as agreed. The princess's obstetrician, [[Sir Richard Croft, 6th Baronet|Sir Richard Croft]], who later shot himself, was the half-brother of Lawrence's friend Elizabeth Croft, and for her Lawrence drew a sketch of Croft in his coffin.<ref>Levey 2005: 201–203</ref>

Eventually, in September 1818, Lawrence was able to make his postponed trip to the continent to paint the allied leaders, first at [[Aachen]] and then at the conference of Vienna, for what would become [[the Waterloo Chamber]] series, housed in [[Windsor Castle]]. His sitters included [[Alexander I of Russia|Tsar Alexander]], [[Francis II, Holy Roman Emperor|Emperor Francis I of Austria]], the [[Frederick William III of Prussia|King of Prussia]], [[Karl Philipp, Prince of Schwarzenberg|Field-Marshal Prince Schwarzenberg]], [[Archduke Charles, Duke of Teschen|Archduke Charles of Austria]] and Henriette his wife, Lady Selina Caroline, wife of the [[Clam-Martinic|Count of Clam-Martinic]] and a young [[Napoleon II]], as well as various French and Prussian ministers. In May 1819, still under orders from the Prince Regent, he left Vienna for Rome to paint [[Pope Pius VII]] and [[Ercole Consalvi|Cardinal Consalvi]].<ref>Levey 2005: 207–238</ref>

=== President of the Royal Academy ===
[[File:Thomas Lawrence by Edward Hodges Baily, 1830, National Portrait Gallery, London.JPG|thumb|left|upright 0.6|A bust of Thomas Lawrence by [[Edward Hodges Baily]], 1830]]
Lawrence arrived back in London 30 March 1820 to find that the president of the Royal Academy, [[Benjamin West]], had died. That very evening Lawrence was voted the new president, a position he would hold until his death 10 years later. George III had died in January; Lawrence was granted a place in the procession for the coronation of George IV. On 28 February 1822 he was elected as a [[Fellow of the Royal Society]] "for his eminence in art".<ref>{{cite web |url=https://catalogues.royalsociety.org/CalmView/Record.aspx?src=CalmView.Catalog&id=EC%2F1821%2F40 |title=Library and Archive Catalogue: Lawrence, Sir Thomas (1769–1830) |work=The Royal Society |access-date=17 January 2023}}</ref> 

The royal commissions continued during the 1820s, including one for a portrait of the king's sister [[Princess Sophia of the United Kingdom|Sophia]], and one of [[Walter Scott|Sir Walter Scott]] (along with [[Jane Austen]], one of Lawrence's favourite authors), as well as one to paint the [[Coronation of Charles X|newly-crowned]] [[Charles X of France]] for the Waterloo series, for which Lawrence made a trip to Paris, taking Herman Wolff with him.<ref>Levey 2005: 263</ref> Lawrence acquired another important patron in [[Robert Peel]], who commissioned the painter to do portraits of his family as well a portrait of [[George Canning]]. Two of Lawrence's most famous portraits of children were painted during the 1820s: that of Emily and Laura Calmady, daughters of [[Charles Calmady]], and that of Master Charles William Lambton, painted for his father [[John Lambton, 1st Earl of Durham|Lord Durham]] for 600 guineas and known as ''[[The Red Boy]]''. The latter portrait attracted much praise when it was exhibited in Paris in 1827.<ref>Levey 2005: 249–258</ref> One of the artist's last commissions was of future prime-minister [[George Hamilton-Gordon, 4th Earl of Aberdeen|the Earl of Aberdeen]]. [[Fanny Kemble]], a niece of Sarah Siddons, was one of his last sitters (for a drawing).[[File:The Red Boy.jpg|thumb|upright=1.03|''[[The Red Boy]]'', a portrait of Master Lambton, eldest son of [[John Lambton, 1st Earl of Durham]], c. 1825]]Lawrence died suddenly on 7 January 1830, just months after his friend Isabella Wolff. A few days previously he had experienced chest pains but had continued working and was eagerly anticipating a stay with his sister at Rugby, when he collapsed and died during a visit from his friends Elizabeth Croft and Archibald Keightley.<ref>Levey 2005: 296–99</ref> After a post-mortem examination, doctors concluded that the artist's death had been caused by ossification of the aorta and vessels of the heart. Lawrence's first biographer, D. E. Williams suggested that this in itself was not enough to cause death and it was his doctors' over-zealous bleeding and leeching that killed him.<ref>Goldring 1951: 330</ref> Lawrence was buried on 21 January in the crypt of [[St Paul's Cathedral]].<ref>"Memorials of St Paul's Cathedral" [[William Sinclair (Archdeacon of London)|Sinclair, W.]] p. 468: London; Chapman & Hall, Ltd; 1909.</ref> Amongst the mourners was [[J. M. W. Turner]] who painted a [[Funeral of Sir Thomas Lawrence|sketch of the funeral from memory]].<ref>{{cite web |url=https://www.tate.org.uk/art/artworks/turner-funeral-of-sir-thomas-lawrence-a-sketch-from-memory-d25467 |title='Funeral of Sir Thomas Lawrence: A Sketch from Memory', Joseph Mallord William Turner |work=Tate |access-date=16 June 2022 }}</ref>
Lawrence was famed for the length of time he took to finish some of his paintings (Isabella Wolff waited twelve years for her portrait to be completed) and, at his death, his studio contained a large number of unfinished works. Some were completed by his assistants and other artists, some were sold as they were. In his will Lawrence left instructions to offer, at a price much below their worth, his collection of Old Master drawings to first George IV, then the trustees of the [[British Museum]], then Robert Peel and the [[John Ward, 1st Earl of Dudley|Earl of Dudley]]. None of them accepted the offer and the collection was split up and auctioned; many of the drawings later found their way into the British Museum and the [[Ashmolean Museum]].<ref>Goldring 1951: 335–342</ref> After Lawrence's creditors had been paid, there was no money left, although a memorial exhibition at the [[British Institution]] raised £3,000 which was given to his nieces.<ref>Levey 2005: 306</ref>