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321:, an instruction on painting apricots using oils. The work marks one of the earliest writings on oil painting instruction to come out of England by an artist of either gender. It was never released on its own in print, however scholars believe that manuscripts of the work were distributed. The work was found in a notebook collecting writings by Charles Beale but was written entirely by Mary, which Helen Draper states is "a unique example of husband-and-wife collaboration in the history of technical literature on painting."
428:
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305:, and Sir Peter Lely, leading to both Robert Walker and Peter Lely being "the most likely drawing masters to the young Mary". The exact time of Mary's introduction to Lely is debated and one theory has the two meeting prior to her marriage to Charles, when she was living in Suffolk. The other theory has the pair meeting in either 1655 or 1656 when Mary and Charles moved to Convent Garden in London and became Lely's neighbour.
474:. Baroque art is a style of sculpture, painting, music, and architecture that was prominent in Europe from the early 17th century until the mid 18th. Baroque art is characterized by use of light and shadow, depictions of movement, as well as use of rich color, all to elicit a sense of grandeur and awe. Baroque portraiture in particular is known for its rich colors, light contrasts, and attention to fabric detail.
239:, to escape the plague. Throughout their marriage, Mary and Charles worked together as equals and as business partners, which was not often seen at the time. On 18 October 1654 Charles and Mary's first son, Bartholomew, was buried. Little else is known about their first son. Their second son was baptised on 14 February 1655/6 and also named Bartholomew. Their third son Charles was born in 1660.
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everything Mary did as an artist. He would take notes on how she painted, what business transactions took place, who came to visit, and what praise she would receive. Charles wrote thirty notebooks' worth of observations over the years, calling Mary "my dearest heart". She became a semi-professional portrait painter in the 1650s and 1660s, working from her home, first in
141:) (1633â1699) was an English portrait painter. She was part of a small band of female professional artists working in London. Beale became the main financial provider for her family through her professional work – a career she maintained from 1670/71 to the 1690s. Beale was also a writer, whose prose
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admired Beale's work, saying she "worked with a wonderful body of colour, and was exceedingly industrious." Others criticise her work as weak in expression and finish with disagreeable colours and poorly rendered hands. It is sometimes described as "scratchy" with a "limited colour palette" and too
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marriage to
Charles worked in her favour in building up her good reputation. Mary Beale typically charged five pounds for a painting of a head and ten pounds for half of a body for oil paintings. She made about two hundred pounds a year and gave ten per cent of her earnings to charity. This income
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Mary's father, an amateur artist, funded her general education may have including courses in painting and drawing. It could be easy to misconstrue strangers entering a woman's home for a business transaction as something that would portray the woman in an impure light. Once Mary did start painting
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Charles and
Bartholomew Beale helped with work in the studio in their youth, where they painted draperies and sculpted ovals; these ovals were a critical piece in Mary Beale's head portraits. Young Charles Beale, named after his father, showed great talent in painting and went to study miniature
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Nobleman Henry
Cavendish (1630â1691) was another important sitter for Mary Beale. He became the 2nd Duke of Newcastle in 1676 and he and his Duchess Frances nÊe Pierrepont were frequent patrons of Mary, from whom they commissioned their portraits in 1677. The Duke and Duchess were introduced to
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In detailed documents kept by
Charles Beale of his wife's practice it states that Lely would visit the Beale home occasionally to observe Mary paint and praise her work. Their friendship led to Lely loaning Beale and her family some of his old master paintings for them to copy from. The Beale's
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Mary Beale's paintings are often described as "vigorous" and "masculine". (It was common to praise a woman for her work by calling her "masculine".) The colour is seen as pure, sweet, natural, clear and fresh, although some critics see her colouring as "heavy and stiff". Due to copying
Italian
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as the court painter, took a great interest in Mary's progress as an artist, especially since she would practice painting by imitating some of his work. Mary Beale started working by painting favours for people she knew in exchange for small gifts or favors. Charles Beale kept close record of
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painting on 5 March 1677. He enjoyed painting miniature sculptures from 1679 to 1688, when his eyesight started to fail him. From then on, he worked on full scale portraits. Bartholomew Beale, the second son, started with painting but instead turned to medicine. In 1680, he studied at
182:, in late March 1633. She was baptised on 26 March by her father John Cradock in All Saints Church in the village. Her mother was Dorothy Brunton/Brinton. Aside from being a rector, John Cradock was also an amateur painter, who may have taught Mary how to paint. Growing up in
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Mary received no formal training from an academy, had no connection to an artist guild, and no royal or courtly patronage. She received a humanist education from her father, During her childhood in
Suffolk Mary's father was friendly with contemporary British artists such as
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during the
English civil war and also had a hand in the secret escape of Charles II into exile in 1651, as well as his reinstatement in 1660. Mary was commissioned by Strangways to paint his portrait along with ones of his wife, his son and his daughter during the 1670s.
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Mary's work through
Frances' father, the Hon. William Pierrepont (1607â1678) whose portrait was also painted by Mary around 1670. William Pierrepont was supportive of Oliver Cromwell during the English Civil War and remained an opponent to the Restoration of the
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Distinguished
Anglican Clergyman Dr. John Tillotson (1630â1694) was a frequent sitter for Mrs. Beale. She painted him a total of five times in 1664,1672,1677, 1681, and 1687. Dr. Tillotson was related to the Cromwell family because he married the niece of
403:, Elizabeth in 1664. Elizabeth was a close friend of Mary's and was one of the individuals who received her writing "The Discourse on Friendship". the Beale's would commission a portrait of Dr. Tillotson for themselves by Sir Peter Lely in 1672.
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on the materials and techniques employed "in her painting of
Apricots", though not printed, is the earliest known instructional text in English written by a female painter. Praised first as a "virtuous" practitioner in "Oyl Colours" by Sir
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exhibition catalogue, 13 October-21 December 1975, Geffrye Museum, London; 10 January-21 February 1976, Towner Art Gallery, Eastbourne. Introduction by Sir Oliver Millar and special contributions by Margaret Toynbee and Richard
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The most common way to learn how to paint at the time was to copy great works and masterpieces that were accessible. Mary Beale preferred to paint in oil and water colours. Whenever she did a drawing, she would draw in crayon.
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was enough to support her family, and she did so. Wasle and Jeffree consider it truly remarkable that Mary Beale was responsible for being the breadwinner of the family. By 1681 Mary's commissions were beginning to diminish.
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at the time, who in 1660 succeeded his father as deputy clerk of the patents office. As Mary's success grew sufficient to sustain the family, he became her studio manager. At some point, Charles was working for the
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closely imitates the work of Lely. In the decades after her death, art historian George Vertue praised her work by saying "Mrs. Mary Beale painted in oil very well" and "work'd with a wonderfull body of colors".
353:. It may be due to Mary's father, John, who was a rector, or her close connection to Tillotson that kept the clergymen of St James' as consistent customers. Mary's connection to Tillotson as well as her strong
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in north Buckinghamshire. Mary and Charles married on 8 March 1652 when she was eighteen. Her father, John Cradock, was gravely ill at the time and died a few days after Mary's marriage. The couple moved to
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commissioned many portraits from Lely of themselves and their friends. It is noted by contemporary George Vertue that portraits of Mary and her family were present at their home at Hind Court in 1661.
198:, whom Mary may have met in her youth. On 23 August 1643, Dorothy Cradock gave birth to a son named John. Dorothy died not long after the birth, leaving Mary motherless at age ten. During the
1901:(Project Continua is a web-based multimedia resource dedicated to the creation and preservation of women's intellectual history from the earliest surviving evidence into the 21st Century.)
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for money in the 1670s, she carefully picked whom she would paint, and used the praise of her circle of friends to build a good reputation as a painter. Some of these people included
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masterpieces as practice, Mary Beale is said to have acquired "an Italian air and style". Not too many could compete with her "colour, strength, force, or life". Sir
1964:
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a catalogue of the paintings bequeathed by Richard Jeffree, together with other paintings by Mary Beale in the collections of St Edmundsbury Borough Council
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1944:
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Ziegler, Georgianna (2021). "My Dearest Heart: The Artist Mary Beale (1633â1699) Penelope Hunting. London Unicorn 2019 ; ISBN 978-1-912690-08-4".
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and, soon after her death, by the author of "An Essay towards an English-School", his account of the most noteworthy artists of her generation.
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Royalist Colonel Giles Strangways (1615â1675) was an admirer of Mary Beale's paintings and another important patron. Strangways fought for
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Mary Beale died on 8 October 1699 at the age of sixty-five. Not much is known about her death besides that she died in a house on
1954:
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Draper, Helen (2016). "6. Mary Beale (1633â1699) and her objects of affection". In Watson, Gemma; Smith, Robert F. W. (eds.).
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Barber, Tabitha (1999), "Mary Beale (1632/3-1699): portrait of a seventeenth-century painter, her family and her studio",
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the following year. More recently (summer 2024), her work is shown in the 'Fruits of Friendship' exhibition at the
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In 1681, Mary Beale took on two students, Keaty Trioche and Mr. More, who worked with her in the studio. In 1691,
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in 1975, at the (then) 'Geffrye Museum' (since renamed as the 'Museum of the Home'), which transferred to the
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from Yorkshire became another student of Mary's. Sarah had similar behaviours and dispositions as Mary.
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Writing the Lives of People and Things, AD 500â1700: a multi-disciplinary future for biography
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Graphice. The use of the Pen and Pensil. Or, the most excellent Art of Painting: in two parts
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Reeve, Christopher (2008). "Beale , Mary (bap. 1633, d. 1699), portrait painter physician".
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in London. When living in Covent Garden, Beale was a near neighbor to artist Joan Carlile.
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Toynbee, Margaret; Isham, Gyles (1954). "Joan Carlile (1606?â1679) â An Identification".
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and graduated MB in 1682. Bartholomew set up his medical practice on a small property in
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559:, (London, 1658), p. 20; Baynbrigg Buckeridge, 'An Essay towards an English-School', in
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of 1666 presents a scholarly, uniquely female take on the subject. Her 1663 manuscript
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Draper, Helen (2015). "Mary Beale and Art's lost laborers: women Painter Stainers'".
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Griffing, Lawrence R. (2021). "Comments on Dr Whittaker's letter and the article".
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exhibition catalogue, 21 September 1999 to 30 January 2000, Geffrye Museum, London
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1867:"Mary Beale: portrait of seventeenth century painter, her family and her studio"
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where he mixed colour pigments. Circa 1660â64 the family moved to Albrook, (now
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Walshe, Elizabeth; Jeffree, Richard (1975), "The Excellent Mrs Mary Beale",
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Graphice: Or The use of the Pen and Pensil; In the Excellent Art of PAINTING
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The identity of the subject is not known but has been conjectured to be of
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This article is about the English painter. For the American botanist, see
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1234:"Her Painting of Apricots': the invisibility of Mary Beale (1633â1699)"
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Whittaker, Christopher A. (2021). "Unconvincing evidence that Beale's
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Griffing, Lawrence R. (2020). "The lost portrait of Robert Hooke?".
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on 8 October 1699. Her tomb was destroyed by enemy bombs during the
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Reeve, Christopher (1994), "Mrs Mary Beale Paintress 1633â1699",
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Morrill, Rebecca; Wright, Karen; Elderton, Louisa, eds. (2019).
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Her husband, the painter Charles Beale the Elder, by Mary Beale
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Portrait of a Lady called Mrs Walkey of Alphington (1675â1680)
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Life stories of women artists, 1550â1800 : an anthology
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gallery in Pall Mall, the street where she lived and died.
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190:. A group of painters worked in Bury St Edmunds, including
1698:. Grove Art / Oxford Art Online. Oxford University Press.
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My dearest heart : the artist Mary Beale (1633-1699)
1244:(4). Oxford University Press Academic Journals: 389â405.
349:, a close friend of Mary Beale who eventually became the
1416:. Vol. 142, no. 1162. London. pp. 48â49.
1200:. Vol. 1. London: Tinsley Brothers. pp. 40â53.
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Mary Beale's memorial in St James Church, Piccadilly
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856:"Mary Beale | National Museum of Women in the Arts"
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1662:Graves, Robert Edmund (1885â1900). "Beale, Mary".
1657:. Vol. 1. London: Routledge. pp. 224â26.
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561:The Art of Painting, and the Lives of the Painters
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1485:. Vol. 96, no. 618. pp. 275â274.
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491:Some of her work can be found on display in the
205:Mary Cradock met Charles Beale (1632-1705) from
1118:"Fruit of Friendship | Portraits by Mary Beale"
431:Her son Bartholomew Beale (1656â1709), by Sir
1737:Chronological list of paintings by Mary Beale
1673:Hendra, Lawrence; Smith, Ellie, eds. (2024).
1668:. Vol. 4. London: Smith, Elder & Co.
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218:at some point afterward. Charles Beale was a
1675:Fruit of Friendship: Portraits by Mary Beale
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1460:(online ed.). Oxford University Press.
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254:. A memorial to her lies within the church.
246:and was buried under the communion table of
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1510:. Vol. 90, no. 544. p. 209.
1439:Victoria History of the Counties of England
1092:"On the trail of Suffolk artist Mary Beale"
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324:Mary Beale also wrote a manuscript called
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1945:People from the Borough of St Edmundsbury
1704:10.1093/gao/9781884446054.article.T007105
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470:The style that Mary Beale painted in was
1965:Burials at St James's Church, Piccadilly
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1506:Walsh, Elizabeth (1948). "Mary Beale".
1457:Oxford Dictionary of National Biography
1452:Oxford Dictionary of National Biography
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507:, Suffolk. Beale was the subject of a
178:Mary Beale was born in the rectory of
1760:"Mary Beale. Burlington Magazine 142"
1725:, Bury St Edmunds: Manor House Museum
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1677:. London: Paul Holberton Publishing.
1648:. Farnham: Ashgate. pp. 115â141.
1505:
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1435:A History of the County of Buckingham
1412:Millar, Oliver (2000). "Mary Beale".
1361:. Bendor Grosvenor. London: Unicorn.
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577:Morrill, Wright & Elderton (2019)
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1776:"Mary Beale. Burlington Magazine 90"
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1905:140 artworks by or after Mary Beale
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1653:Gaze, Delia (1997). "Beale, Mary".
13:
1960:17th-century English women artists
1862:; holds a large public collection)
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1976:
1851:St Edmundsbury Heritage Service,
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1238:Forum for Modern Language Studies
1090:Dugdall, Ruth (23 January 2017).
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1665:Dictionary of National Biography
1530:Inner London Education Authority
1157:Anecdotes of painting in England
328:in 1666 and four poems in 1667.
1831:"Mary Beale self-portrait]"
1695:Beale, Mary (in 'Beale family')
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1205:Dabbs, Julia Kathleen (2009).
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391:but also conjectured to be of
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1955:17th-century English painters
1209:. Farnham, England: Ashgate.
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248:St James's Church, Piccadilly
95:St James's Church, Piccadilly
1474:UK public library membership
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1655:Dictionary of women artists
1429:Page, William, ed. (1927).
1051:Portrait of a Mathematician
1000:Walshe & Jeffree (1975)
985:Walshe & Jeffree (1975)
756:Walshe & Jeffree (1975)
661:Walshe & Jeffree (1975)
378:Portrait of a Mathematician
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10:
1981:
1357:Hunting, Penelope (2019).
1194:Clayton, Ellen C. (1876).
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1122:Philip Mould & Company
880:Toynbee & Isham (1954)
454:, which his father owned.
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16:British artist (1633â1699)
1950:English portrait painters
1893:"Biography of Mary Beale"
1836:National Portrait Gallery
1821:National Portrait Gallery
1816:"Paintings by Mary Beale"
1098:. East Anglia Daily Times
317:In 1663 Mary Beale wrote
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1935:British Baroque painters
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1431:"Parishes : Walton"
1159:, that was Mary Beadle.
1151:Not 1697 as reported in
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351:Archbishop of Canterbury
332:The business of painting
1483:The Burlington Magazine
1441:. Vol. 4. London:
1057:historicalportraits.com
555:Sir William Sanderson,
326:Discourse on Friendship
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143:Discourse on Friendship
1940:English women painters
1847:"Paintings and prints"
1232:Draper, Helen (2012).
1197:English Female Artists
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186:, Mary lived close to
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1542:Journal of Microscopy
1466:10.1093/ref:odnb/1803
1329:Journal of Microscopy
1290:Journal of Microscopy
1272:10.1353/emw.2015.0006
521:Philip Mould & Co
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448:Clare Hall, Cambridge
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339:Queen Henrietta Maria
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1886:on 6 September 2008.
266:Career and education
225:Board of Green Cloth
1508:Burlington Magazine
1414:Burlington Magazine
1386:Great Women Artists
1250:10.1093/fmls/cqs023
882:, pp. 275â274.
501:Moyse's Hall museum
345:, a clergyman from
299:Sir Nathaniel Bacon
220:Civil Service clerk
1888:(Exhibition notes)
1692:Jeffree, Richard.
1587:Early Modern Women
1540:is Robert Hooke".
1260:Early Modern Women
513:Towner Art Gallery
493:Museum of the Home
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443:
423:The Beale children
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369:Prominent sitters
263:
176:
1713:978-1-884446-05-4
1684:978-1-913645-74-8
1554:10.1111/jmi.12987
1472:(Subscription or
1445:pp. 485â489.
1388:. Phaidon Press.
1368:978-1-912690-08-4
1342:10.1111/jmi.12993
1303:10.1111/jmi.12828
1216:978-0-7546-5431-5
1176:as a portrait of
1172:attributed it to
746:, pp. 48â49.
154:in his 1658 book
152:William Sanderson
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113:Portrait painting
83:Pall Mall, London
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1897:Project Continua
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1879:. Archived from
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1748:"Mary Beale"
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1125:. Retrieved
1121:
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784:Walsh (1948)
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724:. Retrieved
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572:
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1930:1699 deaths
1925:1633 births
1076:, pp.
971:, pp.
865:25 February
673:Page (1927)
563:, (London:
440: 1670
385: 1680
233:Otterbourne
207:Walton Hall
101:Nationality
1919:Categories
1635:, London:
1528:, London:
1476:required.)
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1377:1057291032
1170:Christie's
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770:, p.
699:, p.
527:References
517:Eastbourne
480:Peter Lely
433:Peter Lely
273:Peter Lely
192:Peter Lely
129:Mary Beale
32:Mary Beale
1741:Wikimedia
1615:244187564
1607:1933-0065
1578:227159587
1562:0022-2720
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1102:15 August
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244:Pall Mall
237:Hampshire
200:Civil War
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1877:, London
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1280:26431363
860:nmwa.org
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292:Training
229:Allbrook
1187:Sources
726:20 June
721:Bonhams
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1495:JSTOR
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