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John Jackson


Reverend William Holwell Carr

William Seguier

John Jackson RA (31 May 1778 – 1 June 1831) was an English painter who specialised in portraits.

Jackson was born in Lastingham, Yorkshire, and started his career as an apprentice tailor to his father, who opposed the artistic ambitions of his son. However, he enjoyed the support of Henry Phipps, 1st Earl of Mulgrave (1755–1831), who recommended him to the Earl of Carlisle; as well as that of Sir George Beaumont, 7th Baronet, who offered him residence at his own home and ₤50 per year. As a result, Jackson was able to attend the Royal Academy Schools, where he befriended David Wilkie and B. R. Haydon. At Castle Howard, residence of the Earl of Carlisle, he could study and copy from a large collection of paintings. His watercolours were judged to be of uncommon quality.[1]

By 1807 Jackson's reputation as a portrait painter was assured, and he made the transition to oils steadily, if not easily, regularly forwarding paintings to Somerset House. After a visit to the Netherlands and Flanders with Edmund Phipps in 1816, he accompanied Sir Francis Chantrey on a trip to Switzerland, Rome, Florence and Venice in 1819. In Rome he was elected to the Academy of St Luke. His portrait of Antonio Canova, painted on this trip, was regarded as outstanding.[1]

Jackson was a prolific portraitist, strongly showing the influence of Sir Thomas Lawrence and Henry Raeburn in his work.[2] His sitters included the Duke of Wellington, the explorer Sir John Franklin and some noted Wesleyan ministers.[3] His 1823 portrait of Lady Dover, wife of George Agar-Ellis, 1st Baron Dover, was widely acclaimed.[4]

He was a Royal Academy student from 9 March 1805, was elected an Associate of the RA on 6 November 1815 and elected a full member on 10 February 1817.[5]

John Jackson was married twice – the first marriage was to the daughter of a jeweller, the second to Matilda the daughter of the painter James Ward. He died in St John's Wood, London.[1][4]


Thomas Smith (1833). A Topographical and Historical Account of the Parish of St. Mary-le-Bone, Comprising a Copious Description of its Public Buildings, Antiquities, Schools, Charitable Endowments, Sources of Public Amusement, &c. with Biographical Notices of Eminent Persons. Illustrated with Six Views and a Map. London: J. Smith. pp. 296–297. OCLC 1986604.
John Jackson (1998). "Grove Art". Oxford: Oxford University Press (reproduced on Answers.com). ISBN 978-1-884446-05-4. Retrieved 24 October 2014.
Dee Helmore. "William Gush – Portrait Painter". Institute of Heraldic and Genealogical Studies. Archived from the original on 22 August 2014. Retrieved 23 October 2014.
[Clarke] (1834). The Georgian Era: Memoirs of the Most Eminent Persons, who have Flourished in Great Britain, from the Accession of George the First to the Demise of George the Fourth: In Four Volumes. Volume IV. Political and Rural Economists; Painters, Sculptors, Architects, and Engravers; Composers; Vocal, Instrumental, and Dramatic Performers. London: Vizetelly, Branston and Co. pp. 135–136. OCLC 2043748.

"John Jackson, R. A.". Royal Academy of Arts. Archived from the original on 23 October 2014. Retrieved 24 October 2014.

Further reading
Michael Bryan; George Stanley (1849). A Biographical and Critical Dictionary of Painters and Engravers: From the Revival of the Art under Cimabue, and the Alleged Discovery of Engraving by Finiguerra, to the Present Time: With the Ciphers, Monograms, and Marks, Used by each Engraver: by Michael Bryan. A New Edition, Revised, Enlarged, and Continued to the Present Time, Comprising above One Thousand Additional Memoirs, and Large Accessions to the Lists of Pictures and Engravings; also New Plates of Ciphers and Monograms, by George Stanley (new, rev. & enl. ed.). London: H. G. Bohn. p. 355. OCLC 154060793.

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