Milwaukee Public Museum

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by Janean Mollet

The collection of miniature paintings is truly one of the hidden gems of the Museum. Several are on display in both the European Village and the Streets of Old Milwaukee. Visitors do not generally notice them, but they lend detail and authenticity to the life scene exhibits for which the Milwaukee Public Museum is best known.

The Milwaukee Public Museum has a collection of over 130 miniatures. Included are paintings from America, Europe and Asia, two of which are by noted French Neo-Classical painter Jacques Louis David (1748-1825). The six most common miniature mediums are represented in the collection; watercolor on ivory, watercolor on paper, oil on copper, enamel on both copper and porcelain and reverse painting on glass.

The word miniature itself is derived from the word minium, which, instead of referring to size was actually a red ink used in medieval illuminated manuscript writing. These manuscripts were time consuming and costly to produce and often had a patron whose small portrait appeared in the book in the red minium ink. Miniatures are also referred to as limnings, after the medieval job of the limner who used the minium ink to make outlines of pictures in the manuscripts that were then passed on to a colorist to fill in the details. The first known miniature portrait to be created apart from these manuscripts was by Jean Clouet in the 16th century (Frank 2000:1). Miniatures were popular among different classes of individuals at different times in history. However, this art form enjoyed its most widespread popularity from the mid-eighteenth century through the late nineteenth century (Frank 2000; Sandler 2002).

Fig. 1: H20768-23307 (Front) Watercolor on ivory, England, c1800-1830, A General, artist unknown.

Fig. 2: N20774-23307 Watercolor on ivory, England, 1788, Countess of Kinnord, by Smart.

Miniature portraits stand apart from their full sized compatriots in more than the obvious size difference. Unlike large portraits, meant for a very public display, miniatures were cherished in private. They were often traded and viewed within a person's small social circle. All portraits show cultural values of both the subject and artist but miniatures show greater sentimentality in a time beginning to focus on the family (Frank 2000:7). In many ways miniatures were the forerunners of today's photographs. Often smaller than modern "wallet" sized photos, miniatures had much the same purpose, to remind the bearer of a loved one or absent friend immortalized in the portrait. Some were housed in a simple frame or a case and kept in a pocket, like the miniature in Figure 1. Miniatures in the form of jewelry were also popular as they were worn close to the body, reinforcing closeness with the subject. Pendants were particularly popular because they are worn over the heart as with the pendant in Figure 2 (Verplanck 2004:138).

The works were often commissioned on occasions of remembrance, such as births, deaths and engagements (Frank 2000:1). They were also used politically. While both sexes carried or wore miniatures in the form of jewelry, they were often used for very different purposes. Men and women both used them as public displays of affection, but men also used them as public political statements (Frank 2000:15). Queen Anne of England gave miniatures of herself to favored advisors, and those who worked for the good of the country as an award. One full sized portrait of an American colonial gentleman shows him with a pendant miniature of the Queen. His collar has purposely been pushed aside to reveal the pendant, focusing attention on his loyalty to the crown (Frank 2000:9).

Two fine examples of political miniatures in the Milwaukee Public Museum's collection are those of Napoleon Bonaparte and his wife Josephine in Figures 3 and 4.

Fig. 3: N20788-23307B Watercolor on ivory, France c1800, Napoleon Bonapart, by Jaques Louis David.

Fig. 4: N20788-23307A Watercolor on ivory, France c1800 Josaphine, by Jaques Louis David.

Both are watercolor on ivory and were painted by Jacques Louis David around the year 1800. Portraits of Napoleon, both full size and miniature, were very popular during and even after his reign. Included in the portraits are not only depictions as Emperor, but also one from his early years in the French Revolutionary campaigns in Italy seen in Figure 5.

Miniatures were originally a continental art form. After the early eighteenth century, they gained particular favor in England and were associated with the English Royal Court. Stylish Court trends and practices trickled down to the middle class. Their emulation of the upper classes was a sign of the new upward mobility. Miniatures also served to satisfy a desire for material goods as well as to elevate status, craft identities and cement social bonds when given as gifts (Frank 2000:5). Miniatures were exceptionally popular among those most affected by the social evolution of the 1760s. Society at this time began to move toward the "companionate marriage", where not only social standing and economics were taken into account when looking for a mate, but also personality. It also was fashionable for parents to raise their children with fewer restrictions and to show them more affection. These new social interactions created personal attachments that caused death to be more difficult to accept (Frank 2000:7). This new sense of sentimentality for both the living and the dead was manifested in the form of the miniature. Due to these personal ties, miniatures should not only be looked at as magnificent pieces of art, but as a personal link between the sitter and the bearer (Frank 2000:13).

The most popular medium for miniatures was watercolor on ivory. Ivory was particularly appealing because of its luminous surface and warm mellow tone. Along with the surface texture, these qualities added realism to the skin tones used in portrait painting (Burack 1984:43). There are several fine examples of watercolor on ivory in the Milwaukee Public Museum's collection. The first example seen in Figure 6 was most likely given to a lover. The back of this pendant shows a wonderful example of hair weaving symbolic of endearment. While it may seem morbid today, hair was often used as a symbol of attachment and connection between the bearer of the hair and the absent giver or the deceased. Hair woven into wearable form was especially popular among the Victorians (Bell 2003:19-20).

Fig. 6: H20768-23307 (front and back) Watercolor on ivory, England c1800-1830, Young Man in Blue, artist unknown.

A second, superb example of miniature portraiture in watercolor on ivory can be seen in Figure 7. Painted in Munich, Germany by a Dresden artist around 1900, this portrait shows the great detail and care some of the finest miniaturists put into their work.

Miniatures also take the form of remembrance pieces. These were commissioned on important days such as births, marriages and even after life as a death portrait. The back of the pendant in Figure 1 (see Figure 8) and the miniature in Figure 9 are two examples of remembrance pieces.

Fig. 8: N7596-10456 (Back) Watercolor on ivory, England, c1800-1830, A General, artist unknown.

Fig. 9: H5105-18825CU Watercolor and hair on ivory, U.S or Holland, 1867, Memorial to Child, artist unknown.

Both examples contain hair of the deceased in the design of the miniature. Figure 9, for example, remembers a child born on May 20, 1859 and dying on March 5, 1867 and with the initials SJAVRA. The piece uses the hair as vegetation and as the outline and shadow on the headstone. The piece in Figure 10 is a second type of remembrance or commemoration piece. The front is a portrait of a young man and inscribed on the back are words commemorating a love affair, loosely translated to be "A Souvenir of My Love". The man would have given this to his lover to remind her of him.

Fig. 10: N20771-23307 Watercolor on ivory, Germany, c1830, Young Man to His Love, inscribed "Zum Anderken der Liebe," artist unknown.

Although watercolor on ivory was the most sought after medium for miniatures, others were used. One particularly unusual piece in the collection can be seen in Figure 11. This German made caricature of a clerk at a desk dates from around 1820 and is done in oil on metal. A second piece in an uncommon medium can be seen in Figure 12. Also German in origin, this piece was donated to Milwaukee Public Museum by the great-granddaughter of the subject, known simply as Mrs. Mutti, it is done in enamel on porcelain. This is a particularly nice piece as most enamel works are not as clear or detailed.

Fig. 11: H20760-23307 Oil on metal, Germany, c1820, Clerk at Desk Caricature, artist unknown.

Fig. 12: N9474-14337 Enamel on porcelain, Germany, 1840, Mrs. Mutti, artist unknown.

The final unusual medium to be found in the collection is reverse painting on glass as seen in Figures 13 and 14. Not only is the medium unusual, landscapes were less common by miniature painters. This type of miniature was created for a general audience rather than personal use and was often mass produced. The first of these is a view of the Obelisk of Luxor at the Place de la Concorde in Paris. This miniature is in a simple prong back frame and was likely purchased as a souvenir of a trip to France, much like we would purchase a postcard or take a snapshot. The second of these is one of a pair of earrings with a wrapped wire frame. The miniature itself is a reverse painting on glass but also has a thin sliver of mother of pearl placed behind the paint to add luster to the piece.

Fig. 13: N11259-18423 Reverse painting on glass, France, c1890, Obelisk of Luxor Place de la Concorde, Paris, artist unknown.

Fig. 14: H34182-25349 Reverse painting on glass, Germany or Austria, c1890, Pink House on Hill, artist unkown.

The decline of the painted miniature coincides with the invention and subsequent popularity of photography. Photography, in the form of the daguerreotype, was introduced to the public in January of 1839 (Sandler 2002:7). By 1843 the process became practical for portrait taking and studios began opening all over the world. Promoting this new technology were several well-known persons of the day including portrait painter and telegraph inventor Samuel Morse (Sandler 2002: 12-13). Although expensive, daguerreotypes became very popular with the middle and upper classes, and were longed for by the poorer classes. Illustrating this point is a quote by English poetess Elizabeth Barrett Browing, "I would rather have (a daguerreotype) of one I dearly loved than the noblest artist's work ever produced" (Sandler 2002:9).

In 1863, an even more convenient and inexpensive process of photography was introduced, the tintype (Coe 1976:32). These new photographs were faster to produce and traveling photographers were able to take their art to the smaller, out of the way places, not served by the daguerreotype studio. They were also less expensive, meaning the lower-middle class could afford them. By this time the painted miniature was in steep decline and it is easy to see that tintypes are taking their place. More durable than painted miniatures, tintypes were still small in size, the most common size being 21/2" by 4", and were easily sent by mail, carried in a pocket or put into an album. They were also replacing the miniatures in jewelry and examples can be found in cufflinks, tiepins, rings and the ever-popular locket (Sandler 2002:15).

This is not to say that miniature painting is no longer practiced. On the contrary, several recent books have been published on technique such as Sue Burton's The Techniques of Painting Miniatures. Artists worldwide still use the technique and their work can be purchased though dealers and even online. Subjects have not changed drastically either. Many technique books devote specific chapters to painting portraits, especially children. Other popular subjects are pets, now often considered loved ones, and landscapes. Mediums, however, have changed. With a wider variety of surfaces available and the lack of ivory, paper, synthetic ivory, and plastics are commonly used as a canvas. Reformulated paints, including acrylics, watercolor and oils, have been created to work well on these new surfaces. Although there have been small changes, the fundamental techniques and purpose of miniatures, to remember and immortalize loved ones in a portrait, is still going strong.

Janean Mollet holds a Master's degree in Anthroplogy and a Certificate in Museum Studies from the University of Wisconsin-Milwaukee. Ms. Mollet is the Curator of Collections for the Museum of Yesteryear in Milwaukee, WI and guest researcher in American material culture with the MPM History Section.

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Miniatures on Exhibit at the Milwaukee Public Museum

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Web Links

Antiques and The Arts Online

A Past in Miniatures

What Qualifies as a Miniature Painting?

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Bibliography and Further Reading

Bell, C. Jeanenne, Answers to Questions About Old Jewelry: 6th Edition, Iola, WI, Krause Publications, 2003

Bolton, Theadore, American Miniatures 1730-1850, New York, Garden City Publishing Co., Inc., 1927.

Brijbhushan, Jamila, The World of Indian Miniatures, New York, Kodansha International Ltd., 1979.

Burack, Benjamin, Ivory and Its Uses, Rutland, Vermont, Charles E. Tuttle Company, 1984.

Burton, Sue, The Techniques of Painting Miniatures, London, Batsford, 1995.

Coe, Brian, The Birth of Photography, New York, Taplinger Publishing Company, 1976.

Frank, Robin Jaffee, Love and Loss: American Portrait and Mourning Miniatures, New Haven, Yale University Press, 2000.

Hollingworth, Anne, Heirlooms in Miniature, Philadelphia, J.B. Lippincott Company, 1902.

Moy, Patricia, Creative miniatures : A Complete Guide to Miniature Painting, Enderby, Leicester, Bookmart Limited, 1992.

Sandler, Martin W., Photography: An Illustrated History, New York, Oxford University Press, 2002.

Strong, Roy, The English Renaissance Miniature, New York, Thames and Hudson, 1983.

Vaerplanck, Anne, The Art of John Henry Brown, The Magazine Antiques, Nov. 2004 pp138-143.

Willies, Joan Cornish, Miniature Painting: A Complete Guide to Techniques, Mediums, and Surfaces, New York, Watson-Guptill, 1995.