As evidenced in the present miniature, Scottish-born artist John Bogle’s work boasts of incredible detail and masterful craftsmanship and he is often admired for his evocation of personality in his astonishingly detailed portrait miniatures. Bogle studied at the drawing school in Glasgow before focussing his attention on portrait miniature painting, establishing himself first in Edinburgh and then in London. He was the master of conveying the sense of a large oil in a small portrait miniature.

After the death of his mother, Mary Graham, Bogle might have become a member of the aristocracy but never made any claim to his title, the ‘Earl of Menteith’. The year before he moved from Edinburgh to London in 1770, he married and exhibited miniatures at the Society of Artists, in London, from his address in Edinburgh. In London he met some of the most interesting characters in Georgian England, even accompanying Fanny Burney, the well-known playwright and novelist, to witness the trial...

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As evidenced in the present miniature, Scottish-born artist John Bogle’s work boasts of incredible detail and masterful craftsmanship and he is often admired for his evocation of personality in his astonishingly detailed portrait miniatures. Bogle studied at the drawing school in Glasgow before focussing his attention on portrait miniature painting, establishing himself first in Edinburgh and then in London. He was the master of conveying the sense of a large oil in a small portrait miniature.

After the death of his mother, Mary Graham, Bogle might have become a member of the aristocracy but never made any claim to his title, the ‘Earl of Menteith’. The year before he moved from Edinburgh to London in 1770, he married and exhibited miniatures at the Society of Artists, in London, from his address in Edinburgh. In London he met some of the most interesting characters in Georgian England, even accompanying Fanny Burney, the well-known playwright and novelist, to witness the trial of Warren Hastings. Between 1772-1794, Bogle exhibited at the Royal Academy before returning to Edinburgh in 1800 where he died three years later.

Bogle was the master of conveying the sense of a large oil in a small portrait miniature. Posed in semi-profile, as Bogle often painted his sitters, the present miniature exhibits impeccably detailed brushwork. Notably, the sitter’s uniform features descriptive folds of fabric and translates the differing texture of his gold epaulette on the right shoulder. The face is worked in a delicate stippling technique which gave achieves a soft-focus effect to the sitter’s facial features.

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500 Years of British Art