Who painted Margaret 'Peg' Woffington (c.1720–1760), Actress?

Margaret 'Peg' Woffington (c.1720–1760), Actress was painted by Jean-Baptiste van Loo in 1738.

Where can I see Margaret 'Peg' Woffington (c.1720–1760), Actress?

Margaret 'Peg' Woffington (c.1720–1760), Actress is held by Victoria and Albert Museum.

What movement is Margaret 'Peg' Woffington (c.1720–1760), Actress?

Margaret 'Peg' Woffington (c.1720–1760), Actress is associated with Rococo painting.

Artwork

Margaret 'Peg' Woffington (c.1720–1760), Actress

Jean-Baptiste van Loo , 1738

Margaret 'Peg' Woffington (c.1720–1760), Actress is an oil painting by the Rococo painting artist Jean-Baptiste van Loo. It dates from 1738 and is held in the collection of the Victoria and Albert Museum.

About this work

Overview

Jean-Baptiste van Loo’s 1738 oil portrait depicts the celebrated actress Margaret “Peg” Woffington, who lived from roughly 1720 to 1760. The work is part of the collection at London’s Victoria and Albert Museum, where it is displayed as an example of mid‑eighteenth‑century portraiture of theatrical figures.

Subject & Meaning

The sitter is shown in a refined blue gown trimmed with delicate lace, complemented by a matching bonnet. She rests her left arm on a low ledge, while a small bird perches on her right shoulder, a motif often associated with innocence or artistic inspiration. Her gaze is turned to the left, her expression composed, suggesting a poised, public persona rather than private intimacy.

Technique & Style

Executed in oil on canvas, the portrait employs a dark, almost velvety background that heightens the contrast between the luminous fabrics and the sitter’s skin. Van Loo’s handling of light and shadow—chiaroscuro—creates a three‑dimensional effect, especially around the face and the bird, while fine brushwork renders the lace and textile textures with notable precision.

History & Provenance

The painting entered the Victoria and Albert Museum’s holdings as part of its 19th‑century acquisitions of French portraiture, reflecting the museum’s interest in documenting the cultural figures of the Georgian stage. Its attribution to van Loo has been consistently affirmed by scholarly catalogues, confirming its place within the artist’s prolific output of aristocratic and theatrical commissions.