Freeman Flower
Joseph Highmore·1747
Historical Context
Joseph Highmore's portrait of Freeman Flower, painted in 1747 as a companion to his wife's portrait, depicts a member of the English gentry during the mid-Georgian period. Highmore's male portraits display a directness and psychological acuity that distinguish them from the more flattering conventions of contemporary court portraiture. His ability to convey intelligence and personality through subtle expression made him one of the most respected portrait painters of his generation.
Technical Analysis
Highmore's oil-on-canvas technique creates a solidly modeled portrait with warm flesh tones and careful attention to the sitter's intelligent expression. The handling of the gentleman's costume is precise but subordinated to the characterization of the face.
Provenance
Freeman Flower (died 1794), from 1747; by descent to his daughter, Lydia, Mrs. Samuel Shore; bequeathed by her to her second cousin Dr. Whittaker, "Whittaker of Belmount" [according to label on back of stretcher]. Sold Pearson's, Winchester, 13 December 1977, no. 570 (as one of a pair with 1987.262.3) to Thomas Agnew and Sons, London [letter from Gabriel Naughton, Agnew’s, 19 March 1993, in curatorial file]; sold by Agnew’s, 21 March 1979, to John N. Estabrook, Chicago [letter from Gabriel Naughton cited above]; bequeathed by John and Dorothy Estabrook to the Art Institute, 1987.
