A Georgian Portrait Painter via York: John Jackson
- yorkgeorgians
- Aug 4
- 7 min read
by Allison Sharpe (YGS Communications Manager)
One of the most accomplished late Georgian portraitists, John Jackson had strong lifelong
Yorkshire links. Born in Lastingham – then a thriving village – in 1778, he was schooled at
Nawton. His natural talent, and good fortune in encountering supportive noble patrons,
propelled him to the centre of the London art scene. York, though, was where Jackson
started out as an artist (against his tailor father’s wishes) in 1797, aged just 19 years. There
and in Whitby he focused on painting miniatures, perhaps pragmatically, as few necessary
materials meant costs could be kept down. Watercolour continued as a chosen medium
after Jackson became competent in oils, and this self-portrait of 1823 closely relates to an
oil rendition in The National Portrait Gallery NPG 443. Above, the way that Jackson contrasts
light over the face with deep shadow for modelling and shifting background tones appears,
too, in the earlier painting of Mr Hopper, below.
The Earl of Carlisle – of Castle Howard – was among the early patrons who recognised
Jackson’s potential. First was Lord Mulgrave who is thought to have been introduced to the
artist at least by January 1800 through Thomas Watson, the non-conformist minister at
Whitby. Both aristocrats invited Jackson to copy from their remarkable art collections, and
he became a frequent guest at Mulgrave Castle. Access such as this must have been an
education in itself. Jackson’s opportunities expanded further via frequent trips to the
Mulgrave Harley Street house in London, and visits to Sir George Beaumont’s home studio in
Grosvenor Square. Not only was Beaumont a painter and future founder of The National
Gallery, but he enthusiastically passed on lessons learned from his tutor, Sir Joshua Reynolds
(1723-1792). Meanwhile from 1804 Mulgrave provided Jackson with a studio, well-positioned in London’s Haymarket.
Jackson’s character was amiable, even-tempered, kind and informed by genuine religious
feeling. He seems to have been something of a free spirit, too, and early in his career
patrons were concerned about a lack of diligence they noticed. Nonetheless, Jackson’s skill
shone through and on 9 March 1805 he entered the Royal Academy of Arts Schools. Two of
his firmest friends were fellow students there, Benjamin Robert Haydon (1786-1846) joined
on the same day, and David Wilkie (1785-1841), pictured above, arrived on 28 November
that year. Commendably unjealous or selfish, Jackson introduced them to his patrons who in
turn commissioned all three. Jackson became an Associate of the Royal Academy in 1815
and was elected to RA membership in 1817, some six years behind Wilkie on both counts.
Proving to be a prolific Royal Academy exhibitor, Jackson showed 146 works there between
1804 and 1830.
As well as many return trips to Yorkshire, Jackson spent five weeks of 1816 in the Low
Countries, visiting galleries in Antwerp and Brussels with General the Hon. Edmund Phipps,
brother of Lord Mulgrave. They, with the Duchess of Richmond, went to see the Waterloo
battlefield. In 1819 he toured Switzerland and Italy with the sculptor Francis Chantrey
(1781-1841). In Rome Jackson was elected as a member of the Academy of St Luke,
supported by the legendary sculptor Antonio Canova, and going on to paint the latter’s
portrait (above). Canova, who had visited London in 1815, was aged about 63 years when he
sat for the image, which might flatter as he appears somewhat younger. By contrast, there
are more signs of ageing in the below engraving, taken after the painting.
Meanwhile Jackson’s private life had undergone many changes. His wife Maria, whom he
had married in 1807 or 1808, died on 4 March 1817 shortly after the birth and infant death
of their third child. In August 1818, however, he wed Matilda Louise Ward (c.1796-1873),
daughter of the Royal Academician James Ward (1769-1859). They chose to live in
Hampstead village, moving in 1824 to the new and leafy London suburb of St John’s Wood.
According to his friend the painter John Constable (1776-1837), Jackson was probably very
charitable, and we can infer this was done in a modest way, too. Certainly in 1826 St Mary’s
Lastingham benefited from a £50 donation by Jackson towards improvements, and a copy of
Correggio’s ‘Agony in the Garden’.
He made a final Yorkshire journey to attend Mulgrave’s funeral in 1831, but tragically the
effort was too much, and Jackson died at home in London on 1 June. He had charged only
modest sums for his work, and unfortunately was to leave Matilda and their expanded
family in immediate financial difficulties. The Royal Academy stepped in to provide grants,
to tide them over. Among his belongings were palettes owned by Reynolds and Hogarth.
Jackson’s funeral was well-attended and he is buried at the Hinde Street Methodist Chapel,
Marylebone. A stone’s throw away The Wallace Collection has just one picture, a miniature
on copper of Frederick, Duke of York, after Jackson.
However, hundreds of John Jackson’s works can be seen in regional and national collections
today – York Art Gallery has a few – but The National Portrait Gallery’s holdings are
revealing. Not only did he draw and paint notable figures (including fellow artists), then
having prints made, but he produced many copies of others’ pictures, which were also
engraved afterwards. In the words of a contemporary, ‘He had an uncommon readiness and
skill of hand, his colouring was deep, clear, and splendid, and in this he resembled Reynolds
more than any artist since his day.’ (Smith, 1833)
The author thanks Richard Green (YGS Vice-President) for points of information and insight.
References:
Algernon Graves, Algernon Graves, The Royal Academy Exhibitors, 8 vols, 1905-06
Thomas Smith, A topographical and historical account of the parish of St. Mary-le-Bone, comprising a copious description of its public buildings, antiquities, schools, charitable endowments, sources of public amusement, &c. with biographical notices of eminent persons, London, 1833
Oxford Dictionary of National Biography Online
The National Portrait Gallery Explore Our Collection Online
York Art Gallery Collection Online
YGS Events for Your Diary
Friday 8 August
York Georgian Society / York Georgian Festival Events 2025
‘Talking of Georgian Dance… with tea and demo’
Join us at The Guildhall, St Martin’s Courtyard, York, YO1 9QN at 1-3pm for a talk on Georgian dance followed by a real demonstration!
If you close your eyes and imagine the Georgians, the parties and dances from Jane Austen’s
novels will probably spring to mind. But what were these events really like?
In this event, Dr Hillary Burlock, expert on historical dance, will give a talk on ‘A Night at the
Assembly Rooms’, exploring what it was like to attend a ball in the Georgian era. Who would
you meet? What would you dance? How should you (or should you not) behave?
We’ll also be joined by a group of costumed dancers, ‘Regency Rejigged’, who will show us
how it should be done, as they give a demonstration of Regency dances accompanied by
musicians playing genuine music from the time.
After all that excitement – join us for a cup of tea and a slice of cake – where you will have
the chance to chat to the speaker and the dancers to talk more about regency dance!
Cost (including tea and cake): £12 per person.
And for anyone who would like to feel more involved, please do feel free to BYOB (bring
your own bonnet): but there is no obligation for those who prefer to watch only!
Please see more information about the speaker and performers below.
Read on to make an afternoon of it…
Friday 8 August
York Georgian Book Club
3pm at The Guildhall, St Martin’s Courtyard, York, YO1 9QN
We are excited to announce the launch of the York Georgian Book Club, organised by Dr
Adam Smith (York St John University) and Dr Jemima Hubberstey (York Georgian Society)!
Whether you're already a fan of the eighteenth century or dipping your toe for the first time into this exciting age of print, politeness, scandal, and satire, we hope there will be
something for everyone to enjoy.
Join us at our first meeting, which coincides with the York Georgian Festival 2025. We'll be marking Jane Austen's 250th anniversary by reading and discussing her final novel,
Persuasion. Described by Virginia Woolf as the novel in which Austen discovered "that the world is larger, more mysterious, and more romantic than she ever supposed", Persuasion is
both a fierce satire of vanity and a moving tale of missed opportunities and second chances.
We are sorry but we are now at full capacity for this event. If you would like to be added to the waiting list, please do email jemimahubberstey@hotmail.co.uk. Otherwise, please do join us for the next meeting - further details will be added to our website in due course.
All are welcome at this informal bi-monthly in-person Book Club, where we'll alternate
between reading books written in the eighteenth century and books written about the
eighteenth century. If you would like to know more information, please email
jemimahubberstey@hotmail.co.uk who will be happy to answer any questions.
Catch up Online Anytime!
Gresham College – YouTube Channel
Jane Austen, ‘Persuasion’: Irony and the Mysterious Vagaries of Narrative
Lecture by Professor Belinda Jack
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