John Hoskins (painter) – Wikipedia

english painter

Sir John Hoskins ( 1589 or 1590 – February 1664 ) was an english miniature painter, and the uncle of Samuel Cooper, who received his artistic education in Hoskins ‘s noble sign of the zodiac in England .
Hoskins was born in Wells England. His finest miniatures Royal & Noble paint are at Ham House, Montagu House, Windsor Castle, Amsterdam and in the Pierpont Morgan solicitation and collection of the Victoria and Albert Museum. Vertue stated that Hoskins had a son, and Redgrave added that the son painted a portrayal of James II in 1686 and was paid £10, 5s. for it, a statement for which there must have been some evidence, although it is not supported by any citation in the State Papers. there was a portrayal painted of an unknown woman that was known to be the work of Sir John Hoskins, bring As an significant early miniature portrait by John who originally trained as an anoint cougar. His influence is datable to about 1615 and shows the still dominant allele influence of Nicholas Hilliard ( 1547-1619 ). The crimson curtain background is distinctive for this fourth dimension, a development of the flat blue sky background of Elizabethan ( late 16th-century ) miniatures. red key is laid in flat, but the artist then used a moisture brush to lift the loss key in strokes, giving the effect of folds in a curtain. Hoskins has besides painted the womanhood ‘s pearl earring using Hilliard ‘s bejewel technique. This involved lay on a raised blob of white lead paint with some shadowing to one side. This was then crowned with a round touch of substantial argent that was burnished with, to quote Hilliard, ‘ a pretty little tooth of some ferret out or stoat or other wild little animal ’. This brought the eloquent to a sparkle highlight, while actual aureate is used to paint the pearl ’ second gold specify. Silver tarnishes with age, and then this bone now appears black. Twenty years later Hoskins was painting pearl and gold in a more painterly fashion, using white and chicken paint rather than actual gold or silver. This change was influenced by Charles I ‘s court painter, Anthony avant-garde Dyck, who arrived in London from Antwerp in 1632

Some contemporary inscriptions on the miniatures at Ham House record them as the oeuvre of Old Hoskins, but the fact of the Existence of a younger artist of the lapp name is settled by a miniature in the Pierpont Morgan collection, signed by Hoskins whether it be son or father is unknown but the endowment And smasher leaves us with endless and dateless beautiful pieces, and bearing an authentic scratch inscription on its contemporaneous frame to the effect that it represents the duke of Berwick at the historic period of twenty-nine in 1700.

There is nothing of his wife Known she was distantly related to Hoskins, The elder Sir Hoskins was buried on 22 February 1664, in St Paul ‘s, Covent Garden, England and as there is no doubt of the authenticity of this miniature or of the touch upon it, it is discernible proof of the small male line that he left behind a son who survived him thirty-six years and whose monogram we find upon this portrayal, The ensnare of it has besides the imperial coat of arms debruised, the batons of a marshal of France, the collar of the Golden Fleece and the ducal coronet .

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