This is a part of the Wikipedia article used under the Creative Commons Attribution-Sharealike 3.0 Unported License (CC-BY-SA). This article incorporates text from a publication now in the public domain: "Riley, John". The registers of this church contain various entries relating to his family, including the burial, on 11 January 1692–3, of his wife Jochebed.Īmong Riley's pupils was Jonathan Richardson (1667–1745), who married a niece of Riley, and, being himself the master of Thomas Hudson (who was in his turn the master of Sir Joshua Reynolds), transmitted a truly national strain in the art of portraiture. Riley, who suffered very much from gout, died in March 1691, and was buried in the church of St. He was assisted in painting (at least) his draperies and accessories by John Closterman, who finished several of Riley's pictures after his death. Wright trained in Edinburgh under the Scots painter George Jamesone, and acquired a considerable reputation as an artist and scholar during a long sojourn in Rome. Two other, smaller, portraits of servants are Katherine Elliot (also Royal Collection) and A Scullion in the Christ Church Picture Gallery, Oxford. John Michael Wright (May 1617 July 1694) was an English or Scottish (he signed as both at times) portrait painter in the Baroque style. She served during the reigns of Charles I, Charles II, James II, and William III and Mary II. She was a "necessary woman" at court whose duties included emptying and scouring chamber pots and cleaning the royal apartments. He painted a grand full-length of Bridget Holmes dated 1686 in the Royal Collection. His most successful works are often said to be three unusual portraits of servants. With more self-confidence he might have attained to the position of Lely or Kneller. Riley was said to be a quiet, modest man, very diffident of his own art, but his portraits are truthful and lifelike. Charles II gave Riley some commissions, and eventually himself sat for him, apparently saying of the result: "Is this like me? Oddsfish, then I'm an ugly fellow!" Riley also painted James II and Mary of Modena, and, on the accession of William III and Mary II, he was appointed court painter, jointly with Sir Godfrey Kneller, though he only survived for three years after this. Riley did not attain much eminence until the death of Sir Peter Lely, when courtier and royal official Thomas Chiffinch sat for him, and was so much pleased with his portrait that he showed it to the king. Riley studied painting under Isaac Fuller and Gerard Soest, and from the latter learnt a forcible, straightforward style of portraiture which rendered his portraits noteworthy. Riley was born in London, one of the sons of William Ryley, Lancaster Herald and keeper of the records in the Tower of London, who was created Norroy king-at-arms under the Commonwealth, but reverted to his herald's office at the Restoration. One of his pupils was Jonathan Richardson. He painted portraits of Charles II and James II, and was court painter to William III and Mary II. John Riley, or Ryley, (1646 – March 1691) was an English portrait painter.
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