
Georgiana Maria Leicester (1793–1859), Lady de Tabley, as 'Hope'
Thomas Lawrence·c. 1800
Historical Context
Lawrence painted Georgiana Maria Leicester, Lady de Tabley, as "Hope" around 1800, casting the sitter in an allegorical role that was fashionable in late Georgian portraiture. Sir John Fleming Leicester, her husband, was one of the most important collectors of contemporary British art — his collection later formed part of the National Gallery's founding nucleus. Now at Tabley House in Cheshire, the painting remains in the country house for which it was commissioned, providing a rare opportunity to see a Lawrence portrait in its original domestic context.
Technical Analysis
The allegorical treatment gives Lawrence license for a richer, more romantic palette than his standard society portraits, with flowing draperies and an idealized setting. The face, however, retains the specificity of portraiture — this is a real woman inhabiting a classical role rather than an abstract personification.
Look Closer
- ◆Notice the allegorical Hope costume: the flowing draperies and idealized setting give Lawrence license for a richer, more romantic palette than standard society portraiture.
- ◆Look at how the face retains portrait specificity despite the allegorical treatment: this is a real woman inhabiting a classical role.
- ◆Observe the Tabley House location: the rare opportunity to see a Lawrence portrait in the country house setting for which it was commissioned.
- ◆Find the dual reading: as allegory, the painting represents Hope; as portrait, it shows Lady de Tabley with her individual personality intact.
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