This celebrated picture, (known also as “The Kemble Family,” from its
introducing their portraits,) was the last and most esteemed work of J.
H. Harlow, whom Sir Thomas Lawrence generously characterizes as “the
most promising of all our painters.” The painting was commenced and
finished in 1817; immediately after its exhibition at the Royal Academy,
it was finely copied in mezzotint, by G. Clint; and the print in its
time probably enjoyed more popularity than any production of its class.
A proof impression has been known to realize upwards of twenty guineas.
The picture is on mahogany panel, stated to have cost the artist 15_l._;
it is one and a half inch in thickness, and in size about seven feet by
five feet. It originated with Mr. T. Welsh, the professor of music, who,
in the first instance, commissioned Harlow to paint for him a kit-cat
size portrait of Mrs. Siddons, in the character of Queen Katherine, in
Shakspeare’s play of Henry VIII., introducing a few scenic accessories
in the distance. For this portrait Harlow was to receive twenty-five
guineas; but the idea of representing the whole scene occurred to the
artist, who, with Mr. Welsh, prevailed upon most of the actors to sit
for their portraits; in addition to these are portraits of the friends
of both parties, including the artist himself. The sum ultimately paid
by Mr. Welsh for the picture was one hundred guineas; and a like amount
was paid by Mr. Cribb for Harlow’s permission to engrave the well-known
print, to which we have already adverted.
Harlow owed many obligations to Fuseli for his critical remarks on this
picture: when he first saw it, chiefly in dead-colouring, he said: “I do
not disapprove of the general arrangement of your work, and I see you
will give it a powerful effect of light and shadow; but you have here a
composition of more than twenty figures, or, I should rather say, parts
of figures, because you have not shown one leg or foot, which makes it
very defective. Now, if you do not know how to draw legs and feet, I
will show you,” and taking up a crayon, he drew two on the wainscot of
the room. Harlow profited by these instructions, and the next time
Fuseli saw the picture, the whole arrangement in the foreground was
changed. He then said to Harlow, “So far you have done well; but now you
have not introduced a back figure, to throw the eye of the spectator
into the picture;” and then pointed out by what means he might improve
it in this particular. Accordingly, Harlow introduced the two boys who
are taking up the cushion.
It has been stated that the majority of the actors in the scene sat for
their portraits in this picture. John Kemble, however, refused when
asked to do so by Mr. Welsh, strengthening his refusal with emphasis
profane. Harlow was not, however, to be defeated; and he actually drew
Kemble’s portrait in one of the stage-boxes of Covent Garden Theatre,
while the great actor was playing his part. The vexation such a _ruse_
must have occasioned to a man of Kemble’s temperament may be imagined.
Egerton, Pope, and Stephen Kemble were successively painted for Henry
VIII., the artist retaining the latter. The head or Charles Kemble was
likewise twice painted; the first, which cost him many sittings, was
considered by himself and others to be very successful. The artist
thought otherwise; and, contrary to Mr. Kemble’s wish and remonstrance,
he one morning painted out the approved head: in a day or two, however,
entirely from memory, Harlow repainted the portrait with increased
fidelity. It is stated that but one sitting was required of Mrs.
Siddons: the fact is, the great actress held her uplifted arm frequently
till she could hold it raised no longer, and the majestic limb was
finished from another original.