- Art Gallery -

 

Charles Jervas


Paintings

Portrait of Lady Mary Wortley Montagu

Thomas Pelham-Holles, 1st Duke of Newcastle-upon-Tyne (1693-1768)

William Cavendish, 2nd Duke of Devonshire (1672-1729) (detail)

Unidentified man possibly identified as Daniel Finch, 2nd Earl of Nottingham (1647-1730)

Alexander Pope

Anne Masters (1673–1763), 4th Countess of Coventry

Portrait of Brigadier-General, the Honourable Thomas Paget (c.1685-1741), Governor of Minorca.

Caroline Wilhelmina of Brandenburg-Ansbach (1683-1737)

Charles Boyle, 4th Earl of Orrery (1674-1731)

Charles Coote, 4th Earl of Mountrath, ca. 1710, in Ballyfin Demesne

Selfportrait

Deer, Dog and Cat

Harriet Pelham-Holles, Duchess of Newcastle-upon-Tyne (d.1776)

Henry Grey, 1st Duke of Kent (1671 - 1740)

Henry St John, 1st Viscount Bolingbroke (1678-1751)

Henrietta Churchill, 2nd Duchess of Marlborough (1681-1733)

Jonathan Swift

Jonathan Swift

Jonathan Swift, detail

King George II (1683–1760)

Lady Diana Spencer

Lavinia Fenton, later Duchess of Bolton (1710-1760), as Polly Peachum in John Gay's The Beggar's Opera

Isaac Newton (1717)

Katherine Hoskins, Duchess of Devonshire, as Saint Catherine

Probably Dorothy, Viscountess Townshend,

Anne of Great Britain

Samuel Clarke (1675-1729)

Sarah Churchill, Duchess of Marlborough (1600-1744)

Thomas Pelham-Holles, 1st Duke of Newcastle-under-Lyne

William Augustus, Duke of Cumberland (1721-1765)

After Charles Jervas

John Manners, 3rd Duke of Rutland

William Conolly (1662-1729)

Charles Jervas (or Charles Jarvis; c. 1675 – 1739) was an Irish portrait painter, translator, and art collector of the early 18th century.

Early life

Born in Clonlisk, County Offaly,[1] Ireland around 1675, the son of John Jervas and Elizabeth, daughter of Captain John Baldwin of Shinrone Castle & Corolanty, High Sheriff of County Offaly. Jervas studied in London, England as an assistant under Sir Godfrey Kneller between 1694 and 1695.

After selling a series of small copies of the Raphael Cartoons circa 1698 to Dr. George Clarke of All Souls College, Oxford, the following year he travelled to Paris and Rome (while financially supported by Clarke and others) remaining there for most of the decade before returning to London in 1709 where he found success as a portrait painter.
Career
Henrietta Howard, Countess of Suffolk, c.1724, by Jervas

Painting portraits of the city's intellectuals, among them such personal friends as Jonathan Swift and the poet Alexander Pope (both now in the National Portrait Gallery, London), Charles Jervas became a popular artist often referred to in the works of literary figures of the period.

Jervas gave painting lessons to Pope at his house in Cleveland Court, St James's, which Pope mentions in his poem, To Belinda on the Rape of the Lock, written 1713, published 1717 in 'Poems on Several Occasions'.

Pope's verse Epistle to Mr Jervas, written circa 1715, was published in the 1716 edition of John Dryden's 1695 translation of Fresnoy's Art of Painting (Charles Alphonse Du Fresnoy's De arte graphica, 1668).

With his growing reputation, Jervas succeeded Kneller as Principal Portrait Painter to King George I in 1723, and continued to live in London until his death in 1739.
Rt. Hon. Thomas Carter, M.P., Secretary of State and Master of the Rolls, c.1727, by Jervas

His translation of Cervantes' novel Don Quixote, published posthumously in 1742 as being made by Charles "Jarvis" – because of a printer's error – has since come to be known as "the Jarvis translation". Jervas was first to provide an introduction to the novel including a critical analysis of previous translations of Don Quixote. It has been highly praised as the most accurate translation of the novel up to that time, but also strongly criticised for being stiff and humourless, although it went through many printings during the 19th century.


Legacy

Considered a mediocre artist during his career, Jervas was known for his vanity and luck, as mentioned in the Imperial Biographical Dictionary, "He married a widow with $20,000; and his natural self-conceit was greatly encouraged by his intimate friend [Alexander] Pope, who has written an epistle full of silly flattery."

According to one account, after comparing a painting he had copied from Titian, he was said to have stated "Poor little Tit, how he would starve !".

Upon being told that Jervas had set up a carriage with four horses, Kneller replied: "Ach, mein Gott, if his horses do not draw better than he does, he will never get to his journey's end."


Notes

Denys Sutton, Aspects of Irish Art. National Gallery of Ireland. Cahill & Co., 1974. p. 109. Retrieved Mar. 18, 2008.

References

Webb, Alfred. A Compendium of Irish Biography: Comprising Sketches of Distinguished Irishmen and of Eminent Persons Connected with Ireland by Office or by Their Writings, New York: Lemma Publishing Corporation, 1970.

External links

Grove Dictionary of Art: Charles Jervas
The Twickenham Museum: Charles Jervas
AbsoluteArts.com - Charles Jervas (1675 - 1739)
National Portrait Gallery - Charles Jervas
UK Government Art Collection - Charles Jervas

Artist, Ireland

Artist

A - B - C - D - E - F - G - H - I - J - K - L - M -
N - O - P - Q - R - S - T - U - V - W - X - Y - Z

Paintings, List

Zeichnungen, Gemälde

World

Index

Hellenica World