Early Life, Family and Training

Barthélemy Du Pan was born into a patrician family in Geneva on 18 August 1712. His early years were shaped by the expectations of his social standing, leading him toward a path in the law. He spent time studying the legal profession and eventually became a lawyer in 1735. This formal training in jurisprudence provided a structured foundation before his interests shifted toward the visual arts.

The pull of painting eventually drew him away from the courtroom. He moved to Paris to study under Charles Joseph Natoire, seeking to refine his technique in the French tradition. His education continued as he traveled to Rome, where he focused on the nuances of portraiture. During these formative years, he also studied under Nicolas de Largilliere, absorbing the methods of established masters in both Paris and Rome.

Activity in England and the Netherlands

In 1743, Du Pan arrived in England, bringing with him the training he had gathered in Paris and Rome. His presence in the British court was marked by a close connection to the royal family. He became the favourite painter of Frederick, Prince of Wales, spending time at Kew Palace. This patronage allowed him to move within the most private circles of the monarchy, capturing the likenesses of those who held the highest status in the land.

His work extended beyond the British Isles to the Dutch royal house of Orange. During this period, his brush moved between the formal requirements of court portraiture and the specific needs of his patrons. He worked extensively in England, establishing himself as a painter capable of meeting the expectations of European nobility. His time in these courts was defined by the steady demand for his skill in capturing the character of his subjects.

• Portrait of George II
• Portrait of Augusta, Princess of Wales, wearing pearls and an ermine lined blue cloak

Key Works and Portraits

His most celebrated work is the monumental The Children of Frederick, Prince of Wales, painted in 1746. This large canvas is held in the Royal Collection. It is noted for its informality, capturing a sense of movement and life that differs from the more rigid portraiture of the era.

His brushwork also documented the figures of the British court and nobility. He painted a portrait of George II and another of Augusta, Princess of Wales, who is depicted wearing pearls and an ermine lined blue cloak. These works show a highly accomplished hand in capturing the textures of fabric and the specific details of royal attire.

During his time in England and later in Dublin, his subjects included prominent men such as William Stanhope, 1st Earl of Harrington. His ability to render individual character is evident in these commissions, which moved between the formal requirements of the court and more personal studies of his sitters.

Later Years and Death

By 1751, the brushes were set aside. The life spent capturing the likenesses of courts and nobility in England and the Netherlands came to an end as he turned his attention back to his roots. He left the world of portraiture behind to return to Geneva, the city of his birth. The transition from the studio to the courtroom was a return to his earlier training, as he resumed the practice of law.

His involvement in the civic life of Geneva grew as he moved into the sphere of administration. He eventually took on the role of a Magistrate, a position of authority within the local government. This shift from the visual arts to the legal and administrative structures of his home city marked the final chapter of his life. He died in Geneva on 4 January 1763.