![]() All this when the conventions espoused in early modern rhetoric required a married man to be breadwinner and discouraged women, married and single, at all levels of society from freely expressing their ideas and creativity. He prepared canvases, made and sold pigments and, crucially, kept the accounts. After several years of mundane civil service, husband Charles Beale became her full-time studio manager. Thereafter, income from her studio in fashionable, courtly Pall Mall largely supported her family of four. Making the unthinkable appear admirableĪn artist of published repute by 1658, Mary Beale-married and a parent-was not a fully professional portraitist until 1670/1. And so (dear reader) in her twenty-first year to the metropolis she went… Mary Beale, Self-portrait, c.1666, oil on canvas, National Portrait Gallery, London. Soon, with her father’s encouragement, Mary would develop an abiding preoccupation with the messy, physical act of painting in oil. ![]() All Saints Church, Barrow, Suffolk, exterior 1, digital photograph (R. Fourteenth-century font, All Saints Church, Barrow, Suffolk, digital photograph (R. This week, in March 1633, clergyman John Cradock DD (d.1652) baptised his baby daughter, Mary Cradock, at the fourteenth-century stone font in the church of All Saints, in the tiny parish of Barrow, Suffolk, some 90 miles from the burgeoning artists’ colony at Covent Garden in London. Guest post by Helen Draper, independent scholar and author Mary Beale, Self-portrait with husband Charles & son Bartholomew, c.1659–60, oil on canvas, Geffrye Museum.
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