WORKING – METHOD Step 1: Gascoigne Scottish Landscape
Arthur and Clara (date 1896)
(date 1898)
In the Hughes portraits, the affection between the mother and the son
is captured by the small boy leaning over and the mother’s left arm
welcoming the informal closeness.
The 'Gascoigne Commission’
’Laura Gwendolen and Alvary’ is a re-working of the two seated figure composition in the 1896 work.
The matching posture and attire of Arthur and Alvary in these portraits is simply striking.
WORKING – METHOD Step 1: Gascoigne Scottish Landscape
The hillside and lake features are a reference to the Gascoigne Scottish seat:
Craignish Castle at the head of Loch Beag in Argyll and Bute (1)
The prominent landscape personalises the 1898 Double Portrait and ensures the integrity of the 'Gascoigne Commission’ and the 1896 Triple Portrait (2)
Shimmering Pink and Blue Skyline
The opening-up of the skyline in the 1898 Double Portrait accentuates the hill-side and lake features. The shimmering light is captured on Laura Gwendolen’s dress. The skyline feature is a re-working of the 1897 commission,
'Portrait of Mrs Florence Villiers with her son Algernon’
Hughes was at Lotherton Hall for the portrait sittings of Alvary in the year the Villiers commission was completed. The artist’s preference was to return to the two seated composition in the 1896 Triple Portrait for the 'Gascoigne Commission’.
(1) 'Mrs Gwendolen Gascoigne and her son Alvary against a heathery Scottish Landscape: 'Lotherton Hall Remembered’ (page 5) by Daru Rooke. Published in the Leeds Art Fund Calendar Issue: No.108 1991.
(2) Denham-Cookes on their terrace at 16 Princes Gate, London.