When we think of impressive works of art, we often imagine large statues or paintings that take up entire walls. However, there is a type of art that, in my humble opinion, may very well be even more impressive than its larger counterparts and that’s the art of miniatures.

As I was giving myself a rather indulgent immersion in British Classical portraiture on the third floor at the National Portrait Gallery that has recently reopened its doors to the public following from a three-year closure period for refurbishment, I found myself entering a small attractive room, the light of which was artfully dimmed, perhaps to allow these finely detailed tiny paintings to shine and be fully appreciated. I realised then that I have accidentally entered the intriguing world of miniatures.

Miniature Portraits

In the world of classical art, miniature portraits are a unique and fascinating genre that has captured the imagination of artists and collectors alike for centuries. These tiny, finely detailed paintings, often no larger than a few inches, and can be as small as 1.5 cm, are a testament to the skill and creativity of their creators, and offer a glimpse into the lives and times of the people they depict.

The term “miniature” comes from the Italian word “miniatura,” meaning “small picture,” which in turn derives from the Latin “minium,” a red pigment used in illuminated manuscripts.

The Beginnings of Portrait Miniatures

The art of miniature painting developed from the techniques of manuscript illumination, which had been used for centuries to decorate religious texts and other important documents. As the popularity of illuminated manuscripts declined, artists began to apply their skills to creating small, highly detailed portraits, often of royalty and other members of the elite.

Portrait miniatures first appeared in European royal courts in the 16th century, and quickly became popular among the wealthy and powerful. They flourished during the reign of Queen Elizabeth I, and by the 18th century, their popularity had spread throughout Europe.

In Britain, in particular, miniature portraits became highly sought after, with leading artists establishing themselves among the wealthy elite in London, Bath, and Dublin.

So what gave rise to this unique art form, and what was the need for it?

In an age before photography, miniature portraits served as a way for people to capture and preserve the likenesses of their loved ones. They were often commissioned by wealthy individuals, and were highly ornate, with settings made of gold and decorated with enamel and jewels. Soldiers and sailors, in particular, were known to commission miniature portraits to leave with their loved ones while they were away at war.

Miniature portraits were also often used as small, portable copies of larger portraits. They were based on larger portraits and were created to be worn or carried in pockets.

The portrait of Queen Elizabeth I by Nicholas Hilliard is a good example; Hilliard painted a full-size portrait of Queen Elizabeth I in 1572, which was later copied into a miniature portrait. The miniature portrait was then reproduced in multiple copies, which were distributed to members of the court and other important figures.

The portrait of King Charles I by Anthony van Dyck is another good example; Van Dyck painted a full-size portrait of King Charles I in 1635, which was later copied into a miniature portrait by Samuel Cooper. The miniature portrait was then reproduced in multiple copies, which were distributed to the king’s supporters.

The portrait of Lady Anne Clifford by Jan van Belcamp also comes to mind; Van Belcamp painted a full-size portrait of Lady Anne Clifford in 1646, which was later copied into a miniature portrait. The miniature portrait was then reproduced in multiple copies, which were distributed to Lady Anne’s friends and family.

Materials, Tools and Techniques

Miniature portraits were often painted in watercolour on vellum, a fine animal skin, typically from a calf, although it can also be made from the skin of other animals, such as goats or sheep. Vellum has a long history in the world of art and was commonly used as a support for illuminated manuscripts.

Ivory started to be used in miniature portraits around 1700, during the latter part of the reign of William III.

The Intriguing World of Miniatures

Image: John Carnac, 1786 by Ozias Humphry. Watercolour and Bodycolour on Ivory. NPG 6284 © Rania Ades - Author

Image: Warren Hastings, 1732–1818 by Richard Cosway. Watercolour and Bodycolour on Ivory. NPG6286 © Rania Ades - Author

The Venetian artist Rosalba Carriera broke new ground by using ivory as a substrate for her portraits, and after only twenty years, ivory became the most common medium for European portrait miniatures. The use of ivory allowed for very natural reproduction of skin tones, which was a significant advantage over vellum.

British artist Bernard Lens was the first recorded artist in England to produce ivory portrait miniatures. Ivory remained the most common medium for portrait miniatures until its decline towards the end of the 19th century following the development of daguerreotypes and photography in the mid-19th century.

Miniature portraits were protected in lockets, inside watch-covers, or fitted into snuff box covers. They were worn as jewellery or carried in pockets, making them a convenient way to keep a loved one’s likeness close at hand. Enamel miniatures were also popular, and were often copied from engravings or paintings, reproducing famous or favourite likenesses.

Some of the techniques used by artists in the production of miniature portraits are:

Illumination

The art of miniature painting developed from the techniques of manuscript illumination, which had been used for centuries to decorate religious texts and other important documents. Artists applied these skills to creating small, highly detailed portraits, often of royalty and other members of the elite.

Enamel

Enamel miniatures were often copied from engravings or paintings, reproducing famous or favourite likenesses. Some experienced artists prided themselves on their ability to create enamel miniatures with incredible detail and precision.

Plumbago

Plumbago, a type of graphite, was used by artists to create miniature portraits. This technique was popular in the 17th century and was often used to create highly detailed portraits.

Watercolour

Watercolour was a popular medium for miniature portraits, and artists used techniques such as hatching and stippling to avoid muddy colours. With hatching, short lines of paint cross and overlap to create the illusion of depth and texture.

Limning

Limning, a word derived from the Latin “luminare,” meaning “to give light,” was a technique used in the production of miniature portraits. It involved painting with watercolour, and was widely used in England during the 16th and 17th centuries.

Gold

Settings for miniature portraits were often made of gold and finely decorated with enamel and embellished with jewels, such as pearls and diamonds.

Image: Anne of Denmark, 1574–1619 by Isaac Oliver. Watercolour and Bodycolour with Gold and Silver on Vellum. NPG 4010 © Rania Ades - Author

The Challenges Miniature Artists Faced

It all sounds so easy, but was it? Miniaturists faced several challenges in their work, including;

Concentration and Patience

Miniature painting required great concentration and patience, as the artists had to work with a steady hand and extreme caution when handling the small surfaces.

Skill and Precision

Miniature painting required a high degree of skill and precision, as the artists had to create intricate details on a small scale.

Materials

Miniature artists had to work with specialised materials, such as vellum, enamel, and watercolour, which required specific techniques and knowledge.

Lighting

Due to the small size of the paintings, miniature artists often had to work with magnifying glasses and other tools to see the details clearly.

Durability

Miniature paintings were often created as keepsakes or mementos, and had to be durable enough to withstand the test of time.

Despite these challenges, miniature artists were able to create works of art that were both beautiful and functional. Their skill and creativity continue to inspire us today, and offer a glimpse into the lives and times of the people they depict.

The Greatest British Miniature Artists

Nicholas Hilliard

Hilliard contributed a great deal to today’s understanding of the methods and materials used in making 16th- and 17th-century miniatures with his circa 1600 work, Treatise on the Arte of Limning. Hilliard was known for his highly detailed and intricate portraits, which often included symbolic elements and emblems.

Image: Richard Boyle, 1st Earl of Cork, 1566–1643 by Isaac Oliver. Watercolour and Bodycolour on Vellum © Rania Ades - Author

Isaac Oliver

French-born Isaac Oliver (circa 1565–1617) learned the art of miniature painting under Hilliard. Unlike his tutor, however, Oliver experimented with light and shade and tight, effective brushwork to develop a softer style. Although Oliver remained in Hilliard’s shadow for much of his career, his appointment in 1605 as ‘Painter for the Art of Limning’ to the wife of King James I, Anne of Denmark, led to the creation of some of the finest miniatures of the 17th century.

Peter Oliver

Peter Oliver (circa 1594–1648) was the son of Isaac Oliver and continued his father’s legacy in miniature painting. Peter Oliver’s style was more modern than Hilliard’s, with greater use of linear perspective and more light and shade for greater three-dimensionality.

John Hoskins

John Hoskins (circa 1590–1665) was a contemporary of Oliver and was known for his highly detailed and realistic portraits, which often included intricate patterns and textures.

Image: George Fleetwood, about 1623-after 1664 by Samuel Cooper. Watercolour and Bodycolour on Vellum © Rania Ades - Author

Samuel Cooper

Samuel Cooper (1609–1672) has been described as ‘the Van Dyck of portrait miniature painting’ and favoured realism over emblems and symbols. Cooper was known for his highly detailed and realistic portraits, which often included intricate patterns and textures.

Miniature art has evolved over time in terms of style and subject matter. From its origins in illuminated manuscripts to its use as a means of creating small, portable copies of larger portraits, miniature art has continued to adapt and transform with the times.

These tiny, finely detailed paintings were a testament to the skill and creativity of their creators, and offer a glimpse into the lives and times of the people they depict. Whether created as a small, portable copy of a larger portrait or as a unique work of art in their own right, miniature portraits continue to captivate and inspire us today.

Why not pop into the National Portrait Gallery in London to view the alluring portrait miniatures they have on display in the new hang?