XIII
THE HON. ANNE BINGHAM
Miss Anne Bingham was one of the many aristocratic ladies whose portraits Reynolds painted, and one of the most interesting of this class of sitters. Her vivacious face looking into ours wins us at once, and we should be glad to know more of the charming original.
Anne Bingham was the youngest daughter of Sir Charles Bingham, who in 1776 was created Baron Lucan. Her mother, Lady Lucan, was a remarkably talented woman, trying her hand with success at modelling, painting, and poetry. She was ambitious to be an intellectual leader, and like several other ladies of the time entertained after the fashion of the French salons, inviting people of wit and learning to meet in her drawing-room for discussion. Her artistic work was really remarkable. Encouraged by the advice and help of Horace Walpole, she became a skilful copyist, and it is said imitated the works of some earlier painters with a genius that fairly depreciated the originals!
It was thus in exceptionally artistic and intellectual surroundings that Anne grew out of girlhood. Her oldest sister, Lavinia, who afterwards became Countess Spencer, inherited the mother's artistic tastes, and was likewise a favorite with Horace Walpole.
The two daughters were both charming in appearance, and there was a certain sisterly resemblance between them. If Lavinia's eyes were a bit more sparkling, judged by the portraits, Anne's mouth was smaller and more daintily modelled. As a frequent guest in their mother's drawing-room, Sir Joshua must have known both the young ladies. Of the elder he painted several portraits; of the younger, but this one, executed in 1786.
It was a natural and appropriate idea that Miss Anne's portrait should be made in a style similar to one of her sister, as a companion picture. Both were represented in half-length figure, wearing white kerchiefs and broad-brimmed hats.
Those must have been pleasant sittings which gave the veteran portrait painter Miss Anne for a subject.[17] Plainly there was a perfect sympathy between sitter and painter. The smile the lady turns towards the easel is as naïve as that of Miss Bowles herself. She watches his clever work with an artist's delight, and with the simple spirit of a child.
[17] When her father was created an earl in 1795, she became Lady Anne.
Nothing could be more distasteful to such a character than the affected pose of a woman of fashion. She has dropped into a chair with a careless grace all her own, and tells the painter she is ready. He takes up his brush, and lo, the very essence of her smile is transferred to his canvas.