After a decade in India, John Smart swiftly reestablished himself as one of London’s premier portraitists. Commanding prices of twenty-five guineas per miniature, he surpassed contemporaries like George Engleheart (1750–1829) and matched the prestige of Richard Cosway (1742–1821). Smart’s later works, featuring larger miniatures on ivory, catered to a fashionable clientele seeking the quality of oil paintings.
In this final flourish of his career, Smart’s style continued to evolve, with luminous gray sky backgrounds replacing the earlier dark olive browns. He depicted sitters with more vibrant complexions, using the natural ivory: The hard white substance originating from elephant, walrus, or narwhal tusks, often used as the support for portrait miniatures. surface for highlights and translucent washes of color. His technique included quick dashes of white for highlights on noses and collars and scraping into the ivory to create fine details around the hair and eyes, showcasing his meticulous craftsmanship. His drawings also exhibit a new level of detail, with larger, more finished examples, some featuring feigned ovals and background elements. Smart continued to produce works until his death on May 1, 1811, including a drawing completed just three months prior.
doi: 10.37764/8322.8.1605