Who painted Portrait of Catherine Grey, Lady Manners?

Portrait of Catherine Grey, Lady Manners was painted by Thomas Lawrence in 1794.

Where can I see Portrait of Catherine Grey, Lady Manners?

Portrait of Catherine Grey, Lady Manners is held by Cleveland Museum of Art.

What movement is Portrait of Catherine Grey, Lady Manners?

Portrait of Catherine Grey, Lady Manners is associated with British Romanticism.

Artwork

Portrait of Catherine Grey, Lady Manners

Thomas Lawrence , 1794

Portrait of Catherine Grey, Lady Manners is an unspecified painting by the British Romanticist artist Thomas Lawrence. It dates from 1794 and is held in the collection of the Cleveland Museum of Art. This portrait depicts Catherine Grey, Lady Manners, as the goddess Juno, with a peacock at her feet.

About this work

If you like this portrait’s style, check out Thomas Lawrence (British, 1769–1830).

This painting shows Catherine Grey, Lady Manners dressed as the goddess Juno. A peacock rests at her feet. The background is dark, making her pale skin and bright dress stand out.

Lawrence didn’t care what Lady Manners thought. He painted her as Juno anyway. The colors are bold and the brushwork looks loose and quick. It feels alive.

If you like this portrait’s style, check out Thomas Lawrence (British, 1769–1830).

Overview

This portrait depicts Catherine Grey, Lady Manners, as the goddess Juno, with a peacock at her feet. The painting is a characteristic work by Thomas Lawrence, a prominent British portrait painter.

Subject & Meaning

The subject is represented in a classical guise, with the peacock symbolizing Juno. Lady Manners reportedly found the portrait unflattering, indicating a divergence between the artist's vision and her self-image.

Technique & Style

The painting showcases Lawrence's distinctive style, marked by fluid brushwork and bold, unconventional color choices. The dark background accentuates the subject's pale skin and bright attire, creating a striking visual effect.

History & Provenance

The portrait was exhibited at the Royal Academy in 1794 with the intention of sale, but remained in Lawrence's collection until his death.