Elena Rossi
Portrait miniatures are small, detailed paintings that emerged in the 1520s at the courts of Henry VIII in England and Francis I in France. These miniature portraits were typically executed in gouache, watercolour, or enamel, and were often worn as jewellery or carried in pockets. The earliest portrait miniaturists were famous manuscript painters like Jean Fouquet and Simon Bening, whose daughter Levina Teerlinc mostly painted portrait miniatures. Over time, the techniques and materials used in miniature painting evolved, with artists experimenting with different mediums such as enamel on metal, ivory, and graphite on parchment or vellum.
| Characteristics | Values |
|---|---|
| Medium | Watercolour, gouache, enamel, graphite |
| Surface | Vellum, ivory, copper, porcelain, gold, card, parchment, laid paper |
| Size | As small as 40 mm × 30 mm |
| Casework | Lockets, boxes, watch covers, jewellery, frames |
| Technique | Stippling, hatching |
| Purpose | Intimate gifts, courtship, diplomatic gifts, mementos |
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What You'll Learn
Miniature portraits were painted on vellum, card, copper, or ivory
Miniature portraits were typically painted on vellum, card, copper, or ivory. The practice of miniature painting originated in the 1520s during the reign of Henry VIII in England and Francis I in France. The earliest miniaturists used watercolour to paint on stretched vellum, which was a type of fine animal skin or primed translucent calfskin. Vellum was considered an easy alternative to copper in the 17th century. However, as ivory became more accessible and affordable, artists began to adopt the practice of painting on ivory.
In the 18th century, ivory became the standard medium for miniature portraits, replacing vellum due to its superior ability to depict flesh tones. Ivory was also favoured because of its increasing affordability and the decline in the availability of vellum. Ivory remained the most common medium for miniatures until the end of the 19th century, when it was gradually replaced by enamel as a more robust alternative.
In addition to vellum and ivory, card was also commonly used as a base for miniature portraits. Card was often coated with a thin layer of gesso, a mixture of size and chalk, to stiffen it and prevent warping. This technique became popular in the 17th century, with artists trimming playing cards to the required shape and size.
Copper was another material used for miniature portraits, particularly by Dutch and German artists. Portrait miniatures painted with enamel on copper were fired in a kiln and required a high level of skill and time to create. The use of copper as a base was often associated with portraits in oil, a technique characteristic of Dutch and German miniatures.
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They were often worn as jewellery or carried in pockets
Miniature portraits were often worn as jewellery or carried in pockets. They were typically small in size, ranging from 1.5 x 1.375 inches to 3.875 x 3.25 inches. The earliest miniaturists painted on stretched vellum or playing cards trimmed to the desired shape. Vellum is a fine animal skin, and the paintings were done in watercolour, which was then called 'limning'. The word 'limning' comes from the Latin 'luminare', meaning 'to give light'.
As the art form evolved, miniatures began to be painted on ivory, which provided a luminous, glowing surface for transparent pigments. This innovation stimulated a revival of miniature painting in the second half of the 18th century. Miniature portraits were also painted in enamel on metal, a technique introduced in France in the 17th century and perfected by Jean Petitot. Enamel miniatures were attractive for their rich colour and durability.
Miniature portraits were often set in lockets, inside watch covers, or pieces of jewellery, making them easy to carry or wear. They could be worn as pendants or pinned to clothing with ribbons. Some were also framed with stands or hung on walls, or placed inside small boxes with lids, known as "portrait boxes". These protective cases ensured that the delicate paintings were safeguarded from damage, fading, and moisture.
The intimate nature of miniature portraits made them popular as gifts within families or during courtship. They were also used to commemorate special occasions, such as marriages, and to capture the likeness of loved ones who would be absent for extended periods. Miniature portraits were highly valued until the advent of photography in the mid-19th century, which rendered them obsolete.
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The technique was called 'limning' or 'painting in little'
The technique of painting miniature portraits is called limning or painting in little. Limning is derived from the Latin word 'luminare', meaning 'to give light'. The term was first used in the Middle Ages to describe the act of illuminating or decorating medieval manuscripts with gold, silver, or vibrant colours.
The earliest portrait miniaturists were famous manuscript painters like Jean Fouquet and Simon Bening, whose daughter Levina Teerlinc mostly painted portrait miniatures. Miniature portraits were painted in watercolour on vellum (fine animal skin) and protected in lockets or boxes with lids, so they could be worn or carried in pockets. They were also framed with stands or hung on a wall, or fitted into snuff box covers.
In the 1630s, patrons had the additional option of miniatures painted in enamel, a technique invented by Henri Toutin and popularised by Jean Petitot. Miniature portraits painted in enamel were made by mixing powdered glass and metal oxides with oil to create a paste, which was then painted onto a metal or porcelain base. The first layer would cover the entire support, including its reverse, to prevent warping in the kiln.
The English word 'miniature' comes from the Italian word 'miniatura', which means 'limning'. The term 'miniature' became popular in the 18th century, referring to something small. This was likely due to the small size of limnings and their association with words starting with the Latin root 'min', indicating smallness, such as in 'minor'.
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Miniature portraits were painted in watercolour, gouache, or enamel
Miniature portraits, as the name suggests, are small paintings that originated in the Renaissance era. They were usually intimate gifts exchanged within families or given by men to their love interests. Miniature portraits were also used as diplomatic or political gifts by rulers.
Miniature portraits were typically painted in watercolour, gouache, or enamel. Watercolour was the primary medium used for miniature portraits in the 16th and 17th centuries. The paint was made by mixing ground pigment with a binder, usually gum arabic, and a small amount of water. This created a thick and smooth paint that could be applied to surfaces like vellum (fine animal skin) or ivory. Watercolour portraits were then protected in lockets or small boxes to prevent damage from fading and dampness.
Gouache is a type of paint similar to watercolour but modified to be opaque. It consists of natural pigment, water, a binding agent, and sometimes inert materials. Gouache has a higher ratio of pigment to binder than watercolour, resulting in a heavier and more reflective paint. Its opaque quality lends itself to more direct painting techniques and is often used in commercial art, illustrations, and posters.
In the 1630s, portrait miniatures began to be painted in enamel, a technique invented by Henri Toutin and popularised by Jean Petitot. Enamel miniatures were created by mixing powdered glass and metal oxides with oil to make a paste. This paste was then painted in layers onto a metal or porcelain base and fired in a kiln. The enamel could be applied to a thin sheet of gold or copper, or directly onto porcelain. Enamel miniatures were valued for their rich colours and durability.
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They were intimate gifts for family or courtship
Portrait miniatures were usually intimate gifts exchanged within families or by suitors during courtship. They were also sometimes exchanged between families during marriage negotiations, as tokens of love. For example, the alliance between Henry VII of England and Ferdinand of Aragon was celebrated with the exchange of gifts, including portrait miniatures of the betrothed couple, Catherine of Aragon and Prince Arthur of England. The popularity of exchanging such miniatures to commemorate an alliance through marriage soon spread to other courts, especially in Spain.
Portrait miniatures were also commissioned to mark marriages, as in the case of Jane Small, who was painted by Hans Holbein the Younger, probably for her husband, Nicholas Small, to commemorate their marriage. Holbein's miniature of Jane Small is described as a "portrait of great beauty and intimacy for Nicholas to hold and contemplate".
These miniatures were often worn or carried by the recipient, for instance, in a locket or box with a lid, or even tied to clothing with a ribbon. They could also be framed with stands or hung on a wall. In the 18th century, they were often worn as jewellery, on a gold chain around the neck, or set into a ring or bracelet.
The earliest portrait miniaturists were famous manuscript painters like Jean Fouquet and Simon Bening, whose daughter Levina Teerlinc moved to England and became a court artist. Other notable miniaturists include Hans Holbein the Younger, Lucas Horenbout, François Clouet, Nicolas Hilliard, and his son Lawrence Hilliard.
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Frequently asked questions
Miniature portraits are painted on stretched vellum, playing cards, copper, ivory, or prepared card.
Miniature portraits are painted using watercolour, gouache, enamel, graphite, or oil.
Miniature portraits are small in size, ranging from 1 1/2 x 1 3/8 inches to 3 7/8 x 3 1/4 inches
Miniature portraits emerged in the 1520s at the courts of Henry VIII in England and Francis I in France.
Notable artists of miniature portraits include Nicholas Hilliard, Hans Holbein the Younger, Jean Fouquet, Simon Bening, Lucas Horenbout, and Jeremiah Theus.
