Portrait of a Man

Youth, fashion, etiquette and society all come together in this portrait of an unknown man. Possibly painted as a pair with Portrait of a Lady, the couple make a glamorous statement. The man half turns towards us, sporting a fashionable short wig. With his hand placed in his pocket, this man is keen to show off the rich fabrics he wears. The chestnut-coloured velvet coat, with its trendy large cuffs, is plush – the dense fabric absorbing the light. In contrast, the silk waistcoat below has a bright sheen, edged with glowing gold threadwork. To complete the ensemble, a linen cravat is wrapped tightly around the sitter’s neck, a dress sword at his side and a black tricorn hat tucked fashionably beneath his arm. With one hand placed inside his waistcoat, the other arm bent, this man’s pose is the epitome of Georgian manners and good taste, leaving no doubt about his status as a gentleman.

This portrait conforms to a format regularly used by British painter Thomas Hudson (1701–79), one of the foremost society portrait painters of his day. Hudson ran a busy studio in London and became adept at finding the most efficient way to complete his commissions. Three-quarter length poses against a plain backdrop proved a winning formula. He even shared a tip with his student (and later first President of the Royal Academy), Joshua Reynolds (1723–92), that by avoiding painting hands he could quickly make a fortune. He has cleverly applied his advice here, with the sitter’s right hand represented solely by the position of the shirt cuff and the time-consuming fingers of the left hand tucked neatly away. Hudson also collaborated with Flemish painter, Joseph van Aken (1699–1749), a highly skilled and successful drapery artist. It is possible that Aken is responsible for the costume here.