Lemuel Francis Abbott
1760-1803 Lemuel Francis Abbott Locations English painter. He was the son of a clergyman and went to London to study with Francis Hayman shortly before the latter death in 1776; he may have completed his studies in Derby with Joseph Wright of Derby. By the early 1780s Abbott had established a busy portrait practice in London. The formula he adopted for most of his head-and-shoulder portraits can be seen in Sir William Herschel (1785; London, N. Mar. Mus.): the body is parallel to the picture plane, and the sitter head is moved into three-quarter profile, as if his attention has been suddenly distracted. In later portraits, such as those of fellow artists Francesco Bartolozzi (c. 1792; London, Tate) or Joseph Nollekens (c. 1797; London, N.P.G.), the sitter hand or some attribute balances the movement of the head. Only male portraits by Abbott are known, and his patrons were mostly drawn from the professional classes, particularly the Navy; there are several versions of Lord Nelson (e.g. 1798; London, N. Mar. Mus.). His style is crisp but scratchy in technique, and often the anatomy of his figures is inaccurate. Paint is handled in a manner comparable with that of Gainsborough Dupont, but Abbott sense of composition is superior. In 1798 he was certified insane, but he continued to exhibit at the Royal Academy in London for two further years. Several of his works were probably finished by another hand.
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Lemuel Francis Abbott Admiral Alexander Hood_a oil painting


Admiral Alexander Hood_a
1795 National Maritime Museum, Greenwich, London 762 x 635 mm
Painting ID::  166 		Lemuel Francis Abbott
Admiral Alexander Hood_a
1795 National Maritime Museum, Greenwich, London 762 x 635 mm
   
   
     
Lemuel Francis Abbott Captain William Locker oil painting


Captain William Locker
1795-1800 National Maritime Museum, Greenwich, London 775 x 640 mm
Painting ID::  167 		Lemuel Francis Abbott
Captain William Locker
1795-1800 National Maritime Museum, Greenwich, London 775 x 640 mm
   
   
     
Lemuel Francis Abbott Vice-Admiral Sir Andrew Mitchell oil painting


Vice-Admiral Sir Andrew Mitchell
1795-1803 National Maritime Museum, Greenwich, London 762 x 635 mm
Painting ID::  168 		Lemuel Francis Abbott
Vice-Admiral Sir Andrew Mitchell
1795-1803 National Maritime Museum, Greenwich, London 762 x 635 mm
   
   
     
Lemuel Francis Abbott Sir Peter Parker oil painting


Sir Peter Parker
1799 National Maritime Museum, Greenwich, London 2413 x 1524 mm
Painting ID::  169 		Lemuel Francis Abbott
Sir Peter Parker
1799 National Maritime Museum, Greenwich, London 2413 x 1524 mm
   
   
     
Lemuel Francis Abbott Rear-Admiral Sir Thomas Pasley oil painting


Rear-Admiral Sir Thomas Pasley
1795 National Maritime Museum, Greenwich, London 765 x 638 mm
Painting ID::  170 		Lemuel Francis Abbott
Rear-Admiral Sir Thomas Pasley
1795 National Maritime Museum, Greenwich, London 765 x 638 mm
   
   
     
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     Lemuel Francis Abbott
     1760-1803 Lemuel Francis Abbott Locations English painter. He was the son of a clergyman and went to London to study with Francis Hayman shortly before the latter death in 1776; he may have completed his studies in Derby with Joseph Wright of Derby. By the early 1780s Abbott had established a busy portrait practice in London. The formula he adopted for most of his head-and-shoulder portraits can be seen in Sir William Herschel (1785; London, N. Mar. Mus.): the body is parallel to the picture plane, and the sitter head is moved into three-quarter profile, as if his attention has been suddenly distracted. In later portraits, such as those of fellow artists Francesco Bartolozzi (c. 1792; London, Tate) or Joseph Nollekens (c. 1797; London, N.P.G.), the sitter hand or some attribute balances the movement of the head. Only male portraits by Abbott are known, and his patrons were mostly drawn from the professional classes, particularly the Navy; there are several versions of Lord Nelson (e.g. 1798; London, N. Mar. Mus.). His style is crisp but scratchy in technique, and often the anatomy of his figures is inaccurate. Paint is handled in a manner comparable with that of Gainsborough Dupont, but Abbott sense of composition is superior. In 1798 he was certified insane, but he continued to exhibit at the Royal Academy in London for two further years. Several of his works were probably finished by another hand.

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