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VICTORIA ART GALLERY BIOGRAPHY

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Growing up the youngest of four girls in a small town just outside of Toledo. This quiet town allowed for a very simple and routine upbringing. During this childhood is where Victoria was first introduced to the world of art through many trips to the Toledo Museum of Art. It was on one of these trips where Victoria's inspiration was molded through a masterpiece by Richard Estes' "Helene's Florist". Amazed by the precise detail and realism displayed, this fateful encounter serves as the moment in time where art became love.As Victoria grew, so did her desire to explore and experience the world. This yearning for exploration led her to Corporate America, where her detail and work ethic shined. During these years, her success also afforded her the opportunity to pursue her passion for exploration and adventure.After years of hard work, her desires drifted back to her love for art.Little is known of the early life of John Faber, other than he was born in the Hague in the Netherlands. He established himself in Amsterdam, producing little portraits in pen and ink on vellum, fine animal skin. Around 1696/8 he came to England, settling in London. Apparently at this time he adopted graphite in place of ink - a technique commonly called 'plumbago' because it was once thought that graphite was lead-based. He also began to experiment with the new and exquisite print technique of mezzotint engraving, and set up his own printselling business at the Two Golden Balls, near the Savoy in the Strand.Throughout his career he published a large number of engraved portraits, some of which were after his own drawings, and so maintained the traditional links between small plumbago or ink portraits and printmaking (see Wierix q.v.). His focus on portraiture also answered a developing fashion for collecting 'heads' of notable people - something which Bernard Lens also identified. Faber produced a number of engraved 'sets' of portraits of interesting groups, and also worked with George Vertue engraving portraits in the picture gallery of the Bodleian Library. He also produced 45 portraits of the founders of Oxford and Cambridge University colleges, which were republished throughout the 18th century. In later life Faber worked with his son and pupil, also John Faber, and died in Bristol in 1721.John Field was one of the most famous of silhouette artists. He was probably born in London (his parents married in St Ann's, Westminster). Field began his career as an assistant to John Miers (q.v.) the most successful profilist of the 18th century. It is not known exactly when he began to work for Miers; possibly by 1791, certainly by 1794. After this date he was certainly responsible for most of the profiles painted at Miers' studio at 111 Strand, London. Field married in 1795 at St Margaret's, Westminster. It is not known where he lived after he was married; when he exhibited at the Royal Academy he used Miers' studio as his address. He seems to have tried around 1815 to set up independently - one of his trade labels reads 'late fourteen years sole profile painter for Mr Miers, of 111 Strand'. But he seems to have gone back to the Miers firm and from about 1823 was in partnership with Miers son, William Miers.In 1830 the Miers and Field partnership was finally dissolved and Field worked at the same address as his son, also a profile painter, Henry William Field. Field was in his sixties when he finally achieved his independence. About this time he also began to advertise himself as profilist to Queen Adelaide and Princess Augusta, although no official record of this appointment has been traced in Royal Household records. Field always emphasised his time with Miers, advertising himself with such phrases as 'formerly Miers and Field' and 'for the last 40 years… for the late Mr. Miers and Son'. He not only produced silhouettes but filled sketchbooks with landscape drawings and painted landscapes, some of which were unusually on the same plaster surface on which he painted silhouettes. He exhibited extensively at the Royal Academy, both silhouettes and landscapes. He continued to work until the year before his death in 1848.Thomas Flatman was apparently the son of a clerk in the court of chancery. He was born in London and was a scholar at Winchester College from the age of fourteen and entered New College, Oxford at the age of nineteen (though there is no record of his degree). In 1655, at the age of twenty, he paid to be entered at the Inner Temple and in 1662 was called to the bar; he described himself at this time as 'of London, a gent'. In 1666 he was awarded an M.A. from St Catharine's College, Cambridge, and in 1668 was elected a fellow of the Royal Society. As a 'gentleman' and a man of letters, Flatman's miniature painting (then called limning) was more in the amateur tradition of Sir James Palmer, than the professional practice of Samuel Cooper.His earliest miniature dates from around 1660 when he was starting his career in law. Flatman's friends included the artist Mary Beale, her husband Charles and their son, also Charles, who also painted miniatures. He painted their miniatures, but interestingly, seems to have been paid for his miniature of Charles Beale senior. His other sitters seem, on the basis of costume and traditional identification, to have been fellow lawyers and officials. Interestingly, miniature painting had to take second place to his real passion- writing poetry. He published his own work extensively, translated Ovid's epistles and from 1681 to 1682 published anonymously eighty-two weekly editions of a pro-government pamphlet. He also contributed lines 'On the noble art of painting' to William Sanderson's 'Graphice' published in 1658. In 1672 he married a lady called Suzanna, but the background of his wife's family is unknown. They lived in Three Leg Alley, in the parish of St Bride's, where he died in 1688.