Acquisition and Reunification of William Dobson’s Masterpiece at Tate Britain

A significant early work by William Dobson, widely recognized as the first great painter born in Britain, has been placed on public display following a joint acquisition by Tate and the National Portrait Gallery. The painting, a self-portrait of the artist as a young man, is now viewable within the free collection displays at Tate Britain. This acquisition marks the reunification of the self-portrait with Dobson’s painting of his wife, a pairing that restores a historical partnership between the two canvases. The works are currently hanging side-by-side in a gallery dedicated to the artistic output of the English Civil War and Restoration periods.

A Departure from Artistic Convention

The newly acquired self-portrait is regarded as a groundbreaking example of self-portraiture from its era. Described as an exceptionally rare work, the painting is noted for an intimacy and honesty that challenged the prevailing artistic conventions of British art at the time. Art historians observe that Dobson employed thickly applied paint to generate an image that contrasts sharply with the carefully posed elegance typically found in the work of his contemporaries. The composition presents an almost bohemian vision of the artist, characterized by a melancholy gaze and wild hair.

Reuniting a Husband and Wife

The self-portrait is displayed alongside Dobson’s Portrait of the Artist’s Wife, which depicts his second wife, Judith. This companion piece has been part of the Tate collection for several years, having been acquired prior to the current joint purchase of the self-portrait. Curators note that the portrait of Judith was painted on a canvas of identical size to the self-portrait. The work is described as highly personal, featuring the subject with a direct gaze fixed upon her husband as he paints her. The two paintings share a long history of display; they were shown together for over 150 years at Howsham Hall in Yorkshire before being sold and subsequently separated.

Historical Context and Exhibition

The two paintings are situated in a room at Tate Britain that explores the dramatic impact of political turmoil on British art. This gallery includes works by other notable figures of the period, such as Peter Lely and Godfrey Kneller. The era was one of significant upheaval, where some artists managed to thrive while others fell in and out of favor. Dobson himself achieved the position of official painter to King Charles I. During his lifetime, he was hailed by contemporaries as “the most excellent painter that England hath yet bred”. However, his contribution to the art world was truncated; his career was cut tragically short when he died at the age of 35.

Funding and Support

The joint acquisition of William Dobson’s Self-Portrait was facilitated through various funding sources. Exceptional support was provided by The National Lottery Heritage Fund, with major support coming from Art Fund and the Deborah Loeb Brice Foundation. Additional financial assistance was provided by the Portrait Fund, the Nicholas Themans Trust, Bjorn Saven CBE, the David and Emma Verey Charitable Trust, John J. Studzinski CBE, The Leche Trust, The Murray Family, the Tavolozza Foundation, and other generous supporters.

Chronology and Schedule

Creation of the Self-Portrait: Made between 1635 and 1640.
Creation of Portrait of the Artist’s Wife: c. 1635–40.
Marriage to Judith: December 1637.
History of Display: The works were shown together for over 150 years at Howsham Hall until they were sold in 1948.
Previous Acquisition: The portrait of the wife joined Tate’s collection in 1992.
Current Display Duration: The new addition will be on display at Tate Britain until late 2026.
Future Plans: Following a national tour, the work returns to London to be shown at the National Portrait Gallery in 2028.
Artist’s Age at Death: 35.