An artwork on Galleree from Cleveland Museum of Art.
About the artwork
Portrait of Catherine Grey, Lady Manners1794
Thomas Lawrence
The Irish poet Lady Manners rejected as “unflattering” this portrait representing her as the goddess Juno, symbolized here by the peacock. Thomas Lawrence exhibited the painting at the Royal Academy in 1794 with the label “to be disposed of [sold],” but it was still in the artist’s collection when he died. Though it offended Lady Manners, the painting displays all the hallmarks of Lawrence’s flamboyant style:dazzling, fluid brushwork and an innovative use of unconventional colors that helped secure his role as the most fashionable portrait painter in turn-of-the-century Britain.
Catherine was an Irish poet who wrote of longing to escape the fashionable world.
oil on canvas
Framed: 280.5 x 185 x 9 cm (110 7/16 x 72 13/16 x 3 9/16 in.); Unframed: 255.3 x 158 cm (100 1/2 x 62 3/16 in.)
Bequest of John D. Rockefeller Jr.
In the quiet corners of the late 18th century, an alluring tale unfolded within the grand halls of the Royal Academy. It was here that the esteemed portrait of Lady Manners, a figure of elegance and grace, was publicly unveiled. The artist, Thomas Lawrence, whose reputation was already soaring, decided to depict her as the goddess Juno. Among the symbols of her divine persona, a peacock perched gracefully, its iridescent feathers shining brilliantly, capturing the essence of beauty and majesty that defined both the goddess and the subject.
Yet, as the canvas was revealed to the public, the impact was not one of admiration alone. Lady Manners herself looked upon this portrayal with a discerning eye, her heart wrestling with disappointment as she rejected the image as “unflattering.” It was as if the vibrant paint, swirling with Lawrence’s dazzling brushwork and unconventional hues, danced around her form with an exuberance that felt foreign—not quite in sync with how she perceived herself.
Despite her displeasure, the painting stood at the Academy in 1794, labeled and lingering with the words “to be disposed of [sold].” However, much to the astonishment of the art world, it remained in Lawrence's own collection even until his final days. Perhaps within those strokes of vivid color and fluid movement, he saw a reflection of the fashionable society around him, grasping the essence of human experience in the vibrant tapestry of his portraits.
While Lady Manners may have felt misrepresented, the painting itself spoke to the brilliance of a painter who captured the fluctuating nature of identity and beauty in a time when these traits were both celebrated and scrutinized. In that moment, it was more than a portrait; it became a story—a tantalizing glimpse into both the artist's vision and the complexities of a woman's self-image in an era that often dictated who one ought to be.
About the artist
Creating transformative experiences through art “for the benefit of all the people forever.”The Cleveland Museum of Art is renowned for the quality and breadth of its collection, which includes more than 66,500 artworks and spans 6,000 years of achievement in the arts. The artworks shared on this platform are sourced from the museum's Open Access data under the CC0 license. No endorsement is implied.Address: 11150 East Boulevard, Cleveland, OH, USA 44106
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