Born in Rhode Island and trained in London, Stuart is best known for his bold and expressive technique. Yet he adapted his style to fit his patrons' tastes. After moving from London to Ireland in 1787, he chose to render the faces of leading politicians with fine, invisible brushstrokes. For this portrait of John Fitzgibbon (1749-1802), the just-appointed Lord Chancellor of Ireland, Stuart reserved dashing paint handling for such areas as the sitter's new, gold-encrusted robe of office and the embroidered purse by his feet bearing Great Britain's coat-of-arms. Represented as both noble and aloof in a full-length format, Fitzgibbon divided contemporary opinion: while his status as the first Irishman since the 1720s to be appointed Lord Chancellor accounted for his popularity in some circles, his promotion of Ireland's union into Britain made others despise him.
During treatment, museum conservators discovered that the painting was painted on a linen tablecloth, which explains the vertical and horizontal ridges that appear on the painting's surface.
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<P>Born in Rhode Island and trained in London, Stuart is best known for his bold and expressive technique. Yet he adapted his style to fit his patrons' tastes. After moving from London to Ireland in 1787, he chose to render the faces of leading politicians with fine, invisible brushstrokes. For this portrait of John Fitzgibbon (1749-1802), the just-appointed Lord Chancellor of Ireland, Stuart reserved dashing paint handling for such areas as the sitter's new, gold-encrusted robe of office and the embroidered purse by his feet bearing Great Britain's coat-of-arms. Represented as both noble and aloof in a full-length format, Fitzgibbon divided contemporary opinion: while his status as the first Irishman since the 1720s to be appointed Lord Chancellor accounted for his popularity in some circles, his promotion of Ireland's union into Britain made others despise him.</p><p>During treatment, museum conservators discovered that the painting was painted on a linen tablecloth, which explains the vertical and horizontal ridges that appear on the painting's surface.</p>
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