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Student Artwork Guide

Isabella Buxton

Name Class Date

Thomas Bardwell, Isabella Buxton (1751), Norfolk Museums. Public domain. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Thomas Bardwell topimpressionists.com/en/artists/thomas-bardwell/
Artist’s dates
1704 – 1767
Painted
1751
Held at
Norfolk Museums topimpressionists.com/en/museums/norfolk-museums-norwich/

In context

Isabella Buxton — Thomas Bardwell

When was this painted?

  1. 1700
  2. 1710
  3. 1720
  4. 1730
  5. 1740
  6. 1750
  7. 1760

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 63 at death.

Painted when the artist was 47. The artist lived to 63. 22 of the 48 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Thomas Bardwell (1704–1767) ▲ this work, 1751 every dated painting, decade by decade

First works: up to 1748 Main working years: 1748–1757 Late works: from 1757

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: topimpressionists.com/en/art/similar/thomas-bardwell-isabella-buxton-AQRNFB-en/

Colours

Measured from the image

    Main colour

    Phthalo Green #2a271b

    Catalogued palette

    • #2A271B
    • #957553
    • #E0BC96
    • #534533

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Earthy The dominant colour family in the image.
    Main colour name
    Phthalo Green
    Intensity
    Balanced How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Statement How much the colours differ in lightness and saturation across the picture.
    Harmony
    Strong Color Unity How well the colours work together, from clashing to fully unified.
    Brightness
    Shadow How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Subtle Color How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Thomas Bardwell over the last twelve months — 5 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 80.8%
    2. 2 United States of America 7.7%
    3. 3 United Kingdom 3.8%
    4. 4 Singapore 3.8%
    5. 5 South Africa 3.8%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by Thomas Bardwell

    1. 1 Group Portrait (possibly of the Brewster Family), in a Domestic Interior, 1736 10.7%
    2. 2 James Poole (d.1780), Mayor of Norwich (1765), 1767 10.7%
    3. 3 William Crowe (d.1778), Mayor of Norwich (1747), 1746 7.1%
    4. 4 Jermy Harcourt, Mayor of Norwich, 1763 7.1%
    5. 5 Leonard Buxton, 1751 7.1%
    6. 6 Richard Temple (1675–1749), 1st Viscount Cobham 7.1%
    7. 7 John Buxton of Channonz, 1750 3.6%
    8. 8 Joshua Ward Receiving Money from Britannia (also known as Joshua Ward Receiving Money from Britannia and Bestowing it as Charity on the Needy), 1748 3.6%
    9. 9 Portrait of a Lady (possibly of the Nassau de Zuylestein family), 1735 3.6%
    10. 10 Mary Phipps, 1749 3.6%
    11. 11 Captain Robert Fenwick (1716–1802), His Wife Isabella Orde (d.1789), and Her Sister Ann, 1746 3.6%
    12. 12 Catherine Talbot of Ingestre and Hillingdon (1722–1785), 1752 3.6%
    13. 13 David Garrick (1717–1779), as Richard III (from 'Richard III' by William Shakespeare) 3.6%
    14. 14 Sarah Buxton, 1751 3.6%
    15. 15 James Phipps (1703–1773), 1749 3.6%
    16. 16 Anne Buxton (1721–1771), 1751 3.6%
    17. 17 Robert Buxton (1710–1750) 3.6%
    18. 18 A Member of the Whitby Family, 1759 3.6%
    19. 19 John Goodman, Mayor of Norwich, 1757 3.6%
    20. — Isabella Buxton, 1751 this painting 0.0%

    Together these works take 96.6% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 54 works by this artist, of which 20 were looked at at least once. This painting has not been looked at yet in that time — it closes the list without a rank. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    Artist and museum

    Artist

    Thomas Bardwell

    Early Life and Apprenticeship

    Thomas Bardwell, born in 1704, emerged from a family deeply rooted in the decorative arts rather than the established world of fine painting. His initial foray into artistry wasn’t through formal training but within the practical demands of his family's business in Bungay, Suffolk. He began by crafting painted panels – functional embellishments that nonetheless required a keen eye for composition and color. This early experience, though seemingly humble, laid a crucial foundation for his later success. It instilled in him a meticulous approach to craft and an understanding of the visual impact of imagery, even before he consciously aspired to be a portraitist. The earliest documented works, conversation pieces from 1736 – notably one potentially depicting the Brewster family of Beccles now held by the Geffrye Museum – offer glimpses into this formative period. These paintings, intimate scenes capturing familial life, reveal an emerging talent for characterization and narrative detail, hinting at a sensibility that would blossom in his more ambitious commissions.

    Breaking New Ground in Norwich

    Bardwell’s trajectory took a significant turn in 1746 when he secured a commission from the Artillery Company of Norwich to paint William Crowe, who was soon to become mayor. This wasn't merely another portrait; it represented a challenge to the established artistic order within the city. Until then, John Theodore Heins, a German-born artist, had held a virtual monopoly on civic portraiture in Norwich. Bardwell’s success in capturing Crowe’s likeness – and securing this prestigious commission – effectively broke that hold, marking him as a formidable new presence on the local art scene. This initial triumph led to a series of nine portraits for St Andrew's Hall in Norwich, solidifying his reputation and establishing a distinctive style favored by the city’s prominent citizens. He wasn’t simply painting faces; he was becoming an integral part of documenting Norwich society itself.

    London Commissions and Allegorical Depth

    The 1740s and 50s saw Bardwell extend his reach to London, where he undertook a variety of portrait commissions. However, it was during this period that he ventured beyond straightforward representation, demonstrating an ambition for more complex allegorical works. Joshua Ward Receiving Money from Britannia (and bestowing it as charity on the needy), painted in 1748 and now residing within the Royal College of Surgeons’ collection, stands as a prime example. This painting isn't just a portrait of Dr. Joshua Ward; it’s a carefully constructed visual narrative. The symbolic figures of Britannia and Charity flanking Ward, coupled with the throng of grateful patients, elevate the work beyond mere likeness to a celebration of philanthropy and civic virtue. An engraving after this piece, likely by Bernard Baron, further disseminated his imagery and influence. This period reveals Bardwell's growing sophistication in using symbolism to imbue his portraits with deeper meaning, moving him away from purely descriptive representation towards works that actively engaged with moral and social themes.

    Yorkshire, Scotland, and a Return to Norwich

    Bardwell’s artistic journey wasn’t confined to the south of England. Between 1752 and 1753, he embarked on an extensive series of commissions in Yorkshire and Scotland, broadening his exposure to different patrons and regional styles. This period likely influenced his technique and further refined his ability to adapt to diverse aesthetic preferences. However, by 1759, Bardwell made the decision to settle permanently in Norwich. He became a central figure within the city’s artistic community, celebrated for his skill and dedication. An obituary published in a local newspaper lauded him as “an eminent portrait painter…who principally through the power of genius and dint of application, acquired a degree of perfection in his art.”

    Legacy and Theoretical Contributions

    Bardwell’s impact extended beyond the canvas. In 1756, he published The Practice of Painting and Perspective Made Easy, a 64-page treatise dedicated to the Earl of Rochford. This work wasn't merely a technical manual; it reflected his own artistic philosophy and offered practical guidance for aspiring painters. It demonstrates a commitment to sharing his knowledge and promoting the art of painting beyond his immediate circle. According to a general history of Norfolk published in 1829, “the best of his portraits are at Langley,” with works by Turner and Carr also noted as holding historical subjects painted by Bardwell. While perhaps not achieving the widespread fame of some of his contemporaries, Thomas Bardwell carved out a significant niche for himself as a skilled portraitist, a breaker of artistic monopolies, and a thoughtful contributor to the discourse surrounding painting in 18th-century England. His legacy resides not only in the faces he captured but also in the enduring quality of his craftsmanship and his dedication to elevating the art of portraiture within his community.

    Museum

    Norfolk Museums

    On show in Norwich, United Kingdom

    A Tapestry of Time: Discovering Norfolk Museums

    Nestled in the historic heart of Norwich, Norfolk Museums isn’t merely a collection of buildings housing artifacts; it's an immersive journey through centuries of British life, artistry, and innovation. The museums collectively represent a vibrant cultural institution dedicated to preserving and showcasing the diverse heritage of this captivating county. From the imposing silhouette of Norwich Castle to the intimate charm of Strangers’ Hall, each location whispers tales of medieval merchants, industrial pioneers, and artistic visionaries. A visit here isn't simply observation; it’s an encounter with the very soul of Norfolk.

    Norwich Castle Museum & Art Gallery:

    This Norman masterpiece, originally built as a Royal Palace, now safeguards medieval treasures that transport visitors back to a time of knights, cathedrals, and burgeoning trade. Beyond its regal origins, the castle’s collection spans centuries, offering a panoramic view of British history through art and artifacts. The curators skillfully employ academic realism—detailed depictions of architectural grandeur and illuminated manuscripts—to convey the scale and significance of Norman rule.

    Bridewell Museum:

    A stark contrast to Norwich Castle's opulence, Bridewell Museum houses the last Jacquard loom in existence, a tangible symbol of Norfolk’s industrial past. This remarkable machine speaks volumes about the ingenuity and craftsmanship that fueled Norwich’s economic growth during the Victorian era. Its architectural design—a Grade I listed building—reflects the city’s transformation from medieval roots to industrial expansion.

    The Norwich School: Capturing Norfolk's Essence

    Norfolk Museums is particularly celebrated for its exceptional art collection, spearheaded by the Norwich School painters. Active in the early 19th century, these artists—John Constable, George Eliot Palmer, John Sell Cotman—captured the essence of the Norfolk landscape and everyday life with a distinctive blend of realism and romanticism. Their canvases resonate with atmospheric perspective and meticulous attention to detail, mirroring the artistic sensibilities of their time. Examining works like ‘The Marketplace’ by Harry Goodwin offers an unparalleled glimpse into Victorian Norwich – a scene rendered with vibrant colors and masterful composition.

    Beyond Art: Portraits of Norfolk's Medical History

    However, Norfolk Museums’ commitment to storytelling extends far beyond traditional art forms. The museum’s unique collection of medical portraits at the Norfolk & Norwich University Hospital provides a fascinating exploration of over 250 years of healthcare evolution. These portraits honor the dedicated professionals who have served the community through periods of both progress and adversity—individuals whose faces are preserved in time, offering poignant reflections on medical practice and societal values.

    A Living Legacy: Engagement & Exploration

    What truly distinguishes Norfolk Museums is its holistic approach to local history, art, and heritage. It’s a place where the past isn't confined to static displays but actively engages with the present through immersive exhibits and educational programs. Collaborations with local artists and researchers foster a deeper understanding of Norfolk’s cultural landscape—a testament to the museum’s enduring mission: to inspire curiosity and cultivate appreciation for this region’s rich artistic legacy.

    Notable Exhibitions:

    Recent exhibitions have explored themes ranging from Tudor Norfolk to the Industrial Revolution, demonstrating the museum's ability to adapt its programming to contemporary interests.

    Where to read more

    • The artist Thomas Bardwell topimpressionists.com/en/artists/thomas-bardwell/
    • The museum Norfolk Museums topimpressionists.com/en/museums/norfolk-museums-norwich/
    • Similar works More works to compare topimpressionists.com/en/art/similar/thomas-bardwell-isabella-buxton-AQRNFB-en/

    Find this online

    QR code linking to the download page for Isabella Buxton

    topimpressionists.com/en/art/download/thomas-bardwell-isabella-buxton-AQRNFB-en/

    Cite this artwork

    MLA
    Bardwell, Thomas. Isabella Buxton. 1751, Norfolk Museums. https://topimpressionists.com/en/art/thomas-bardwell-isabella-buxton-AQRNFB-en/
    APA
    Bardwell, Thomas (1751). Isabella Buxton [Painting]. Norfolk Museums. https://topimpressionists.com/en/art/thomas-bardwell-isabella-buxton-AQRNFB-en/
    Chicago
    Thomas Bardwell. Isabella Buxton. 1751. Norfolk Museums. https://topimpressionists.com/en/art/thomas-bardwell-isabella-buxton-AQRNFB-en/
    Harvard
    Bardwell, Thomas (1751) Isabella Buxton. Norfolk Museums. Available at: https://topimpressionists.com/en/art/thomas-bardwell-isabella-buxton-AQRNFB-en/

    Look closely

    Isabella Buxton — Thomas Bardwell

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Look back at John Buxton of Channonz (1750), earlier in this guide. Name two things it shares with this work, and one that is different.
    4. Thomas Bardwell was about 47 when this was made. What in it looks like the work of an artist at that stage?
    5. What might the artist have wanted you to feel?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Questions & Answers

    Where can I see a preview of "Isabella Buxton"?

    A preview of "Isabella Buxton" by Thomas Bardwell is available on the artwork's Preview page.

    Can "Isabella Buxton" by Thomas Bardwell, held at the Norfolk Museums, be legally reproduced?

    The copyright status of "Isabella Buxton" by Thomas Bardwell is clear: the work is in the public domain - its copyright has expired. Its presence at the Norfolk Museums does not change that status.

    What color palette is used in "Isabella Buxton" by Thomas Bardwell?

    "Isabella Buxton" by Thomas Bardwell uses an earthy color palette. The palette summarizes the work's overall color character.