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London’s population in 1670 was around 500,000, making it one of the largest cities in Europe. In the aftermath of the Restoration of Charles II the capital was rife with artists and scientists keen to gain the ear of the court. It was a bustling cultural centre, with theatres, taverns, and coffeehouses providing entertainment. As before, the Beales’ circle of friends included courtiers, intellectuals, artists and literary figures. These were the men, and their wives, who Charles termed ‘persons of quality’ in his studio records, whose formal portraits Mary would be commissioned to paint.
Amateur to professional painter
But in the 1660s it was one thing for a woman to paint portraits of her family and friends for love rather than money, but it was a different proposition for her to invite male strangers into her home for commercial purposes.
To achieve respectability Mary had to call on and expand her network of friends. In this way the ‘persons
of quality’ who came to sit for her could be perceived as guests, rather than paying customers. She also made the most of the courtly culture of gift exchange, allowing her to give portraits and texts as gestures of affection, but also as payment in kind for favours and loans.
Philip Mould said: “Mary Beale pioneered a practice that was both supported by, and was reliant on, her immediate circle; from friendship and trust established within the home between her husband and children, to the bonds she created throughout her wider circle of neighbours, friends, and fellow artists.”
One of the key friendships she enjoyed was with Sir Peter Lely (1618-1680) Charles I and II’s court painter. By 1672, Lely, who Mary may have met when he visited Suffolk in the 1640s (and some say who encouraged her to paint), had visited her London studio and later allowed her to study his painting techniques. This was a remarkable opportunity and she even created a market selling replicas of his portraits. In fact, so similar are their styles, Mary’s work has on occasion been wrongly attributed to Lely.
Life in Pall Mall
Mary’s circle also included members of the puritan clergy, notably Edward Stillingfleet, who was to become Dean of St Paul’s Cathedral and Bishop of Worcester.
Religion was an important element of family life. The diaries of the Beales’ close friend Samuel Woodforde reveals Mary as a “sympathetic and hospitable” friend and the household as a ‘puritanical’ one, regularly setting aside 10 per cent of their income for the poor.
But despite the charity, her prices were competitive: £10 for a three-quarter-length and £5 for a half-length portrait. As they grew up, both her sons would assist her by painting time-consuming drapes, well-detailed costumes and Baroque-style cartouches. Mary also employed and trained a number of female studio assistants, including Sarah Curtis (1676-1743) who later pursued a successful career as an artist. While Bartholomew would become a physician, Charles went on to find success in miniatures.
Busy times
Meanwhile, Charles continued to assist with the practical side of running a studio, including chemical experiments to mix expensive colours more cost- effectively, in order to make commissions more profitable. (As well as painting on expensive imported linen Mary also used sacking, and even, at times, on onion bags and striped bed ticking fabric.)
In 1677 alone, her most profitable year, Charles’ records show Mary was commissioned to paint 83 portraits. While six years previously her annual income totalled £118 5s., in 1677 it had risen to £429.
Her workload was relentless. In 1677, a snippet of her schedule records:
“1st Mr Moore, third sitting two hrs.
Feb 3rd Mrs Twisden’s picture.
Feb 5th Mrs Fitzjames face and breast finished.
Feb 7th Mr Rog Twisden’s face carried a good way.
Feb 8th Mrs Twisden third sitting.
Feb 9th Countess of Derby face in little well laid in.
Feb 10th Countess of Derby face and breast.
Feb 12th Countess Derby scumbled and re-touched.
Feb 13th Mrs Twisden’s face laid in for finishing.”
