Provenance
W.S.B. Grimson by 1930.[1] (M. Knoedler & Co.), London; probably purchased from (M. Knoedler & Co.), New York, by Mrs. Henry C. Lancashire; by descent to her daughter, Mrs. Richard Southgate, Manchester, Massachusetts; gift to NGA, 1951.
[1] A letter to Grimson about the picture, from the then Warden of Merton, in NGA curatorial files, is dated 20 March 1930.
Accession Number
1951.7.1
Medium
oil on canvas
Dimensions
overall: 127.7 x 102.1 cm (50 1/4 x 40 3/16 in.) | framed: 150.2 x 124.5 x 10.2 cm (59 1/8 x 49 x 4 in.)
Classification
Painting
Credit Line
Gift of Mrs. Richard Southgate
Tags
Painting Neoclassical & Romantic (1751–1850) Oil Painting Canvas British
Background & Context
Background Story
A Graduate of Merton College, Oxford from c. 1754/1755 is attributed to George Knapton (1698-1778), the English portrait painter known as the first portrait painter to the Society of Dilettanti and an important portrait painter of mid-18th century England. The portrait depicts a graduate of Merton College, one of the constituent colleges of the University of Oxford, in the conversation piece manner that distinguishes Knapton's best work from the more formal portraiture of his contemporaries. The c. 1754/1755 date places this in Knapton's most productive period, when he was painting the portraits of the educated elite of mid-18th century England.
Cultural Impact
A Graduate of Merton College, Oxford is important in the history of 18th-century English portraiture because it demonstrates the conversation piece manner attributed to Knapton, who was one of the most important portrait painters of the mid-18th century. Knapton's conversation pieces—depicting sitters in informal settings that suggest their education and social position—represent an important tradition in 18th-century English portraiture, and the c. 1754/1755 portrait shows this tradition applied to an Oxford graduate.
Why It Matters
A Graduate of Merton College, Oxford is attributed to George Knapton's conversation piece portraiture: an Oxford graduate rendered in the informal manner of the first portrait painter to the Society of Dilettanti. The c. 1754/1755 portrait shows the conversation piece tradition applied to an Oxford graduate, combining formal portraiture with informal setting.