Marcus Chen
Many famous artists throughout history have painted children, including girls and boys sitting, playing, and reading. Some notable artists who have depicted children in their works include Sir Anthony van Dyck, Vincent van Gogh, Mary Cassatt, Cornelis van Cleve, Arthur John Elsley, and Pablo Picasso. These artists have captured the innocence and vigour of childhood, with portraits of royalty, idyllic scenes of the English countryside, and intimate depictions of babies and young children. While some artists have focused on the sentimental aspects of childhood, others have portrayed the harsh reality of child labour during the industrial era.
| Characteristics | Values |
|---|---|
| Artist | Mary Cassatt |
| Painting Name | Little Girl in a Blue Armchair |
| Description | The little girl is dressed in a tartan sash, bow, and socks, a lacy dress, and shiny shoes. She sits in an informal pose in a stuffy setting, with her mouth pursed as though she is bored or tired. |
| Date | Late 19th Century |
| Genre | Impressionism |
| Location | National Gallery of Art, Washington, D.C. |
| Other Artists Painting Children | Vincent van Gogh, Arthur John Elsley, Johannes Vermeer, Cornelis van Cleve, Salvador Dalí, Michelangelo, Albrecht Dürer, Gari Melchers, Jan de Braij, Sir Anthony van Dyck, Jean-Baptiste Greuze, David Allan, Hugh Cameron, William McTaggart, Allan Ramsay, Sir David Wilkie, George Paul Chalmers |
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What You'll Learn
Mary Cassatt's intimate paintings of babies
Mary Cassatt was an American painter who frequently depicted infants and the bond between mother and child in her work, despite never marrying or having children herself. Her paintings of babies are notable for their intimate portrayal of motherhood and their subtle feminist undertones.
Cassatt's painting "Little Girl in a Blue Armchair" (1877-78) depicts a young girl from a middle- or upper-class family, as indicated by her clothing and the elaborate furniture in the room. The girl's informal pose contrasts with the stuffiness of her surroundings, and her expression suggests boredom or exhaustion. The painting also includes Cassatt's own dog, a Brussel Griffon named Baptiste, curled up in a chair opposite the girl.
Another notable work by Cassatt is "Maternal Caress" (1896), which highlights the physicality and work involved in childcare. The painting depicts a toddler with strawberry blond curls appearing to shove her thumb into the mouth of her caregiver, who grips the child's arm tightly in a gesture of restraint. This painting, along with others by Cassatt, challenges the sentimentality often associated with images of mothers and children and presents a more realistic portrayal of motherhood as labour.
Cassatt's work also explored the modern condition of mother and child, reflecting the nearly adulterous, exhausting love with which middle-class women of her time related to their babies. Her painting "Young Mother" (1888) depicts a mother planting a tense, almost needy kiss on the forehead of her distracted child, reflecting the isolation and shared dependence that marked Cassatt's portrayals of motherhood.
Cassatt's paintings of babies and mothers have been studied through a feminist art historical lens, shedding light on aspects of her life and work that resonate with contemporary ideas about women's empowerment. Her commitment to professionalism and financial independence, as evidenced by her statement, "I am independent! I can live alone and I love my work," further underscores her modern and progressive outlook.
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Michelangelo's early start in art
Michelangelo, born in 1475, is considered one of the greatest artists of the Renaissance. His career was well-documented, and he was the first Western artist to have a biography published during his lifetime.
As a young boy, Michelangelo was sent to Florence to study grammar under the Humanist Francesco da Urbino. However, he showed little interest in his schooling, preferring to copy paintings from nearby churches and seek the company of painters. Recognising his interest in art, Michelangelo's family sent him to apprentice with Domenico Ghirlandaio, a master in fresco painting, perspective, figure drawing, and portraiture, in 1488, when he was 13 years old. Michelangelo's father even persuaded Ghirlandaio to pay his son as an artist, which was unusual for someone so young.
During his apprenticeship, Michelangelo created his first painting, *The Torment of Saint Anthony*, in 1487-88. This work, executed in egg tempera and oil on a wooden panel, is believed to have been inspired by an engraving by Martin Schongauer. The painting was well-regarded and even said to have made Ghirlandaio envious.
After completing his apprenticeship, Michelangelo continued to pursue his interest in sculpture and studied under Bertoldo di Giovanni in the Medici sculpture garden in the early 1490s. Here, he completed his first two commissions as a sculptor: marble reliefs titled *Madonna of the Stairs* and *Battle of the Centaurs*. These early works demonstrated Michelangelo's sophistication and complexity as a teenager, and he quickly became an expert in portraying the human form.
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Court artists' portraits of royal children
Court artists have played a significant role in the history of visual arts, with their portraits of royal children offering a glimpse into the lives of royalty throughout history. These portraits were often circulated within the family and scrutinized to diagnose health issues, as well as being used in marriage negotiations.
In the Middle Ages, naturalistic elements began to be incorporated into royal portraits, and this trend continued into the Renaissance period, with artists such as Leonardo da Vinci, Raphael, and Michelangelo creating iconic royal portraits. During the 17th and 18th centuries, the English and French royal courts became centres of artistic patronage, with artists like Anthony van Dyck and Peter Lely producing elegant and detailed portraits of royal families. Van Dyck, for example, painted Princess Elizabeth and Princess Anne, daughters of Charles I, in 1637. This portrait is one of the most popular images in the collection of the National Galleries of Scotland. It was intended as a preparatory sketch for a larger family portrait but instead captures an intimate image of childhood innocence.
Another notable court painter was Velázquez, who served as a court painter for King Philip IV of Spain. He is renowned for his highly realistic portraits, capturing the personalities of his subjects, as well as his masterful use of light and shadow. He painted several portraits of the king and his family, including Queen Mariana and their children.
In the 19th and 20th centuries, photography emerged as a new medium for royal portraits, with monarchs and royal family members posing for formal photographs that were then distributed to the public. However, even in the modern era, court painters continued to play a role, with artists like Fyodor Rokotov becoming court painters and creating portraits of royalty, such as Catherine the Great of Russia in 1763.
The tradition of court artists and royal portraits has evolved over the centuries, from the early Middle Ages to the modern era, providing a unique perspective on the lives of royalty and the artistic styles of different periods.
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Arthur John Elsley's paintings of children with pets
Arthur John Elsley (1860-1952) was a British genre painter, famous for his paintings of children and pets during the Victorian and Edwardian periods. Enrolling in art school at the age of 14, Elsley began to take commissions for portraits of children and dogs in 1882, with an emphasis on horses. Many of his early commissions came from the Benett-Stanford family, and some of these works can still be seen at Preston Manor in Brighton.
Elsley's paintings often depicted daily life in England, capturing the innocence and joy of childhood. One of his most notable works, "I'se Biggest", features a young girl comparing her height to that of a large St. Bernard dog. The painting was so popular that it had to be re-engraved to meet the demand for prints. Another painting, "Grandfather's Pet", was chosen by The Illustrated London News as their Christmas print in 1893. Elsley's work was also featured in advertising materials, such as the Pear's Annual, and his paintings can now be found in museums and galleries across England.
Elsley's artistic process involved creating preparatory oil sketches and using photographs of child and pet models, as they often wouldn't sit still for long periods. He was influenced by his cycling trips through the countryside and his collaborations with other artists, including Frederick Morgan, with whom he shared a studio. Elsley's paintings capture the love and joy of childhood, making him one of the foremost painters of children and their pets during his time.
Elsley's work continues to be celebrated and valued, with his paintings auctioned and exhibited in various museums and galleries. His legacy lies in his ability to immortalise the beauty and innocence of childhood, creating lasting memories and a sense of nostalgia for viewers.
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Images of children in industrial society
During the Industrial Revolution, children were seen as appealing workers as they could be hired for low-skill jobs at lower wages than adults. Their smaller size also allowed them to perform certain jobs that adults could not. In the late 19th and early 20th centuries, many children were drawn into the labour force, with at least 6% of all American workers being under the age of 16 by 1900. This number grew to 2 million by 1910.
Photographer Lewis Hine is known for his documentation of child labour in America. He travelled across the country, photographing children working in coal mines, meatpacking houses, textile mills, canneries, and on the streets as shoe shiners, newsboys, and hawkers. Hine's images of children with worn-out faces stirred America's conscience and helped change the nation's labour laws. For instance, the Keating-Owns Act was passed in 1916, prohibiting children aged 14 or younger from working in factories and children aged 16 or younger from working in mines.
While most formal portraits of children were reserved for royalty and the aristocracy, artists like Hugh Cameron, William McTaggart, and Allan Ramsay depicted their own young children in their artwork. These paintings immortalised their children's appearances and individuality, serving as memorials in a time of high infant mortality rates.
In Scotland, artists were influenced by Dutch and Flemish genre paintings, as well as Scottish folklore and traditions. Sir David Wilkie's "Detail from Pitlessie Fair" (1804) depicts a cross-section of society, teeming with children. David Allan's paintings of the lead processing operation at Leadhills also show the harsh reality of child labour, with young boys as young as nine performing hard physical labour.
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Frequently asked questions
"The Crying Boy" was painted by Giovanni Bragolin in the 1950s. It is one of a series of paintings depicting poor yet beautiful, teary-eyed children.
Some famous artists who have painted portraits of children include Sir Anthony van Dyck, Jan de Braij (de Bray), Sir David Wilkie, George Paul Chalmers, Allan Ramsay, Hugh Cameron, and William McTaggart.
Pablo Picasso's earliest surviving painting is "The Picador", which he completed at the age of eight. Another one of his famous paintings is "Les Demoiselles d’Avignon", which he painted at the age of 26.
Salvador Dalí's most famous painting is perhaps "The Persistence of Memory", which he completed by the age of 27.
During the 19th century, genre paintings featuring happy family life became popular in England. One famous painter of this genre was Arthur John Elsley, who depicted beautifully dressed young children with their pets in playful settings.
