
William Hawker Hughes
Historical Context
William Hawker Hughes was painted by Solomon Joseph Solomon in 1914, the same year as the artist's royal commission for King George V — a coincidence that illustrates the range of Solomon's practice, moving in the same year between the highest level of state portraiture and a more private individual commission. Without detailed records of Hughes, the portrait represents the large category of Solomon's output commissioned by private individuals seeking a permanent record of their standing and identity. The National Portrait Gallery's acquisition of the work reflects the institution's interest in documenting British society across all classes of the significant rather than restricting itself to the famous. Solomon's mature technique by 1914 could be relied upon to produce a confident, psychologically engaged likeness from any sitter.
Technical Analysis
The 1914 canvas would reflect Solomon's fully developed mature technique: efficient yet expressive brushwork in the costume, carefully layered flesh tones in the face, and the confident spatial placement of a sitter within a neutral or draped background.
Look Closer
- ◆The portrait conveys personal identity and dignity without requiring the sitter to be publicly famous
- ◆Solomon's mature technique is evident in the efficient handling of costume relative to the face
- ◆The 1914 date situates the sitter — and the painter — at the cusp of the First World War
- ◆The National Portrait Gallery context preserves individual identity within a national visual record

%20-%20An%20Allegory%20of%20the%20Dead%20Christ%20(study)%20-%20LCNUG%201927.263%20-%20Usher%20Gallery.jpg&width=600)
%20-%20Ernest%20Abraham%20Hart%20(1835%E2%80%931898)%2C%20Editor%20of%20the%20British%20Medical%20Journal%20-%2045641i%20-%20Wellcome%20Collection.jpg&width=600)
%20-%20Sir%20Swire%20Smith%20(1842%E2%80%931918)%20-%2052-1971.2%20-%20Cliffe%20Castle%20Museum.jpg&width=600)



.jpg&width=600)