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image, using the pastel sticks both wet and dry. When drawing a face, he first outlined the head and shoulders in a light tone, then added the features of the face in a "faint carmine tones". He then blended the tones on the face using his fingers. After this, the background was filled in using the broad side of the pastel, avoiding the outline of the face. The final strokes of the pastel were then used to fill in loose hair and other details, and graphite was then used to draw in small details such as eyelashes. Hamilton's technique remained more or less constant throughout his career, influenced by the
European tradition and the desire of the market.
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usually medium in thickness, that was finished with gelatin glue. While it is unclear as to how
Hamilton prepared his paper for the pastels, it is thought that he did not use preparatory drawings and that the portraits were usually completed in one sitting from life. This speed and skill was necessary to ensure a steady flow of clientele, as Hamilton was very pressed with commissions for these portraits.
264:(1764) and others now in the British Royal Collection. He showed with the Society of Artists and the Free Society of Artists from the mid-1760s to the mid-1770s. From the mid-1770s on, Hamilton became very interested in a softer, more textural form of pastel "fresco", in which he blended crayons and chalk to further the pastel's ability to imitate flesh.
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While there is no surviving documentary evidence on
Hamilton's pastel technique, through close examination of his works, researchers and conservators have been able to discern some of his technique. Hamilton most likely applied each tone to the portrait separately before blending to avoid dulling the
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Hamilton was best known for his pastel oval portraits depicting the head and shoulders of the sitter. These pastels were lively and affordable, costing around six guineas apiece. They became very popular throughout Europe. For these oval portraits, Hamilton used handmade cream or off-white paper,
244:- and won some early success with crayon and pastel portraits there. He was very adept at building relationships with patrons from the early days, taking up with the famous La Touche banking family of Dublin, who had close ties with the
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oval portraits, portraying royalty, politicians and celebrities of the day through this medium. Hamilton was often overwhelmed with orders, including commissions from the
British royal family - such as
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Hamilton turned to oil painting, and achieved great success with small oval portraits of Irish and
British visitors. His portraits of this period include those of
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A Compendium of Irish
Biography: Comprising Sketches of Distinguished Irishmen and of Eminent Persons Connected with Ireland by Office or by Their Writings
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maker. Unfortunately, there is very little concrete evidence of his early life, apart from his own drawings. He studied art under
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portrait-painter. He spent considerable periods in London and Rome before returning to Dublin in the early 1790s. Until the mid-
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Hobbs, Anne, ed. "Hugh
Douglas Hamilton (1740â1808): a life in pictures", Dublin: National Gallery of Ireland, 2008.
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In 1779 he travelled to Italy, where he remained for the next twelve years, occasionally visiting
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Very little is known of
Hamilton's career between 1756 and 1764, when he moved to
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In 1791 Hamilton returned to Dublin, where he died. In 1796 he painted
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Hugh
Douglas Hamilton (1740â1808): a life in pictures
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364:"Hugh Douglas Hamilton, Portrait Painter"
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183:by Hugh Douglas Hamilton. Oil, 1792â93.
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