Autorinės teisės Šis kūrinys priklauso viešajam domenui. Thomas Patch mirė 1782 m.; autorinė teisė galioja 70 metus po autoriaus mirties, todėl ji baigėsi 1852 m.
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The Cognoscenti — Thomas Patch
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Šviesoplėvis: Thomas Patch gyvenimas (1725–1782) kiekviena su data pavadinta paveikslėlio, dešimtmečiais
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Gimė Exeter, United Kingdom
Born in Exeter in 1725, Thomas Patch embarked on a life that defied easy categorization—a painter, engraver, keen observer of human nature through physiognomy, and an early art historian. His story isn’t one of steady ascent within the established British art world, but rather a fascinating trajectory marked by exile, intellectual curiosity, and a unique position as a cultural bridge between Britain and Italy during the height of the Grand Tour era. Initially destined for a medical career following his father's profession, Patch abandoned those studies in 1747, choosing instead to travel to Rome with Richard Dalton, who would later become librarian to George III. This journey proved pivotal, immersing him in a vibrant artistic milieu and introducing him to Joshua Reynolds, already making waves with his satirical caricature groups. Early work under Joseph Vernet honed Patch’s landscape skills, teaching him the techniques of etching while copying Vernet's celebrated views of Tivoli. These formative experiences laid the groundwork for a career that would blend observation, technical skill, and a distinctly individual perspective.
A dramatic turn arrived in 1755 when Patch was banished from Rome by the Tribunale della Santa Inquisizione. While the precise reasons remain shrouded in speculation, it is widely believed that homosexual indiscretions led to his expulsion—a stark reminder of the societal constraints and dangers faced by those who defied conventional norms during the 18th century. Forced to seek refuge elsewhere, Patch found a new home in Florence, where he would spend the remainder of his life. This relocation proved unexpectedly fruitful, largely due to his burgeoning friendship with Sir Horace Mann, the British envoy. Mann became an invaluable patron and advocate, connecting Patch with the steady stream of British tourists undertaking the Grand Tour—a crucial source of commissions and recognition. Beyond securing financial stability, Florence provided a stimulating intellectual environment where Patch could pursue diverse interests. He delved into physiognomy, the now-discredited practice of assessing character based on facial features, conducting extensive research that was tragically lost when his notes were stolen and destroyed.
Patch’s artistic output was remarkably varied. He is perhaps best known for his witty caricature groups, lively depictions of the Anglo-Florentine community and young British men on their Grand Tour adventures. These paintings offer a captivating glimpse into 18th-century social life, revealing the personalities and interactions of a privileged elite with playful insight. Alongside these character studies, Patch produced numerous views of Florence and Tivoli, landscapes that proved immensely popular with tourists seeking souvenirs of their travels. In 1763, George III himself purchased three views of Florence, demonstrating the quality and appeal of his work. However, Patch’s contributions extended beyond mere picturesque scenes. He was a pioneer in the serious study of early Italian art, recognizing the importance of preserving and promoting the works of masters like Giotto, Masaccio, Ghiberti, and Fra Bartolommeo. Through meticulously reproduced prints, he made these artists accessible to a wider audience, contributing significantly to the growing appreciation for Renaissance art. He frequently included self-portraits within his compositions, sometimes in humorous or symbolic ways, and is immortalized alongside Sir Horace Mann in Johann Zoffany’s iconic painting “The Tribuna of the Uffizi,” a testament to his integration into Florentine society.
Thomas Patch's significance lies not only in his artistic skill but also in his multifaceted role as a cultural intermediary. His caricature paintings provide invaluable social commentary, offering insights into the customs and attitudes of the 18th century. His pioneering study of early Italian art helped to establish a more scholarly approach to art history, paving the way for future generations of researchers. As a figure navigating exile and societal constraints, his life story resonates with themes of identity, belonging, and artistic freedom. The largest collection of his works resides in the Lewis Walpole Library, ensuring that his legacy continues to be studied and appreciated by scholars and art enthusiasts alike. Patch’s work stands as a testament to the power of observation, the allure of Italy, and the enduring human desire to capture the spirit of an era. He was a man who embraced intellectual curiosity and artistic experimentation, leaving behind a body of work that continues to fascinate and delight centuries later. His contribution is a unique blend of social satire, landscape artistry, and scholarly dedication—a legacy that firmly establishes him as a significant figure in 18th-century art history.
Parodoma Petworth, United Kingdom
Petworth House is a late 17th-century Grade I listed country house situated in the parish of Petworth, West Sussex, England. The current structure was built in 1688 by Charles Seymour, the 6th Duke of Somerset. This building replaced an earlier manor house and was designed to reflect the architectural ambitions of the era. The house served as the southern home for the Percy family, the earls of Northumberland, for many generations.
The ownership of the estate transitioned through several prominent families, including the Wyndham family. In 1947, Charles Wyndham, the 3rd Baron Leconfield, handed the house over to the nation. Since that time, the property has been managed by the National Trust as Petworth House & Park. The house remains a significant site for the preservation of the collections assembled by its former residents.
The current structure of Petworth House is a product of the late 17th century, having been rebuilt between 1688 and 1702. Designed in the Baroque style, the house was inspired by the grand palaces of Europe, emphasizing order and symmetry. This architectural character is further defined by the intricate wood-carvings of Grinling Gibbons, whose work remains integrated into the interior fabric. The house underwent significant alterations during the 1870s under the direction of the architect Anthony Salvin.
The interior spaces reflect various periods of architectural development and refinement. The North Gallery was added to the house between 1824 and 1825. In the Saloon, the floor is covered by an Axminster carpet featuring a design by Robert Adam. These elements contribute to the layered history of the building, where Baroque foundations meet later Victorian and Regency additions.
The collection comprises fine art spanning several centuries, held within the house in its original context. The assembly includes significant portraiture and works across various genres, from formal portraiture to landscape paintings. These holdings are integrated into the architectural fabric of the rooms, contributing to the established character of the interior spaces.
The grand state rooms contain works by artists such as Anthony van Dyck, J. M. W. Turner, Joshua Reynolds, and Thomas Gainsborough. The selection includes paintings by Titian and William Blake, alongside works by John Constable. These pieces remain largely in the rooms where they were once displayed alongside the furniture and decorative objects that accompanied them.
The Right Honourable George Grenville, 1767 - Joshua Reynolds
Macbeth and the Witches, 1786 - Joshua Reynolds
A Vision of the Last Judgment, 1808 - William Blake
Cattle at a Fountain, 1786 - Thomas Gainsborough
Jessica, 1828 - J. M. W. Turner
An Unknown Cardinal, 1545 - Titian
The assembly of paintings within the house reflects the long-standing patronage of the Northumberland and Seymour/Somerset families. Significant portraiture by Anthony van Dyck is integrated into the architectural fabric of the rooms, including depictions of King Charles I on horseback and Lady Dorothy Percy. These works remain in their original context, preserved alongside the furniture and decorative objects that once accompanied them. Titian is also represented by works such as an unknown cardinal and an unknown man in a black plumed hat.
The landscape and figurative traditions are represented by several key artists. Thomas Gainsborough’s Rocky Wooded Landscape with Rustic Lovers by a Pool, painted about 1774–1777, was acquired by the 3rd Earl of Egremont. J. M. W. Turner’s landscapes are also held here, many of which were inspired by the views within the surrounding parkland. Joshua Reynolds contributed several portraits to the collection, including Macbeth and the Witches and Charity. The collection also contains works by William Blake, such as A Vision of the Last Judgment.
The Right Honourable George Grenville, 1767 - Joshua Reynolds
Cattle at a Fountain, 1786 - Thomas Gainsborough
Jessica, 1828 - J. M. W. Turner
A Scene from 'The Wife of Bath's Tale', 1812 - Henry Fuseli
The 700-acre deer park surrounding the house was landscaped by Capability Brown. This landscape was later immortalised in the paintings of J. M. W. Turner. The terrain features a 12-acre woodland garden known as the Pleasure Ground. Within these grounds, visitors may find a Doric temple and an Ionic rotunda.
A large herd of fallow deer inhabits the parkland. There are over 700 fallow deer to observe across the estate. The parkland remains a central feature of the Petworth landscape.
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The Cognoscenti — Thomas Patch
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