Who painted Sir Francis Moore, M.P.?

Sir Francis Moore, M.P. was painted by William Faithorne in 1663.

Where can I see Sir Francis Moore, M.P.?

Sir Francis Moore, M.P. is held by National Gallery of Art.

What movement is Sir Francis Moore, M.P.?

Sir Francis Moore, M.P. is associated with Baroque.

Artwork

Sir Francis Moore, M.P.

William Faithorne , 1663

Sir Francis Moore, M.P. is an ink print by the Baroque artist William Faithorne. It dates from 1663 and is held in the collection of the National Gallery of Art. Sir Francis Moore, M.

About this work

Overview

Sir Francis Moore, M.P. is a black-and-white engraving by William Faithorne, dated 1663. The portrait depicts a solemn-faced man adorned with a white ruff collar, holding a paper, set against a plain oval background encircled by text in an antiquated font, including the phrases 'Serviens' and 'Quod non'.

Subject & Meaning

The subject, Sir Francis Moore, a Member of Parliament, is portrayed in a formal, contemplative manner, suggesting gravity and intellectual engagement, as implied by the held paper. The Latin inscriptions 'Serviens' (Serving) and 'Quod non' (What not) may allude to his parliamentary service and personal motto.

Technique & Style

Executed in engraving, the piece showcases Faithorne's mastery of line work, evident in the detailed facial features and textured ruff. The overall appearance, with its precise lines and minimal tonal range, reflects the inherent characteristics of metal engraving.

History & Provenance

Created in 1663 by William Faithorne, specific details regarding the engraving's commission, original display context, or subsequent ownership history are not provided in the available information.

Context

This engraving represents a common practice of the time, where engravings served as a popular medium for portraying and disseminating images of notable figures, including politicians like Sir Francis Moore, to a broader audience.

Legacy

While the broader impact or notable exhibitions of 'Sir Francis Moore, M.P.' are not detailed in the provided sources, the work remains an example of 17th-century English engraving techniques and the representation of political figures during that era.