Sir Peter Lely: The Dominant Portraitist of the English Court
Sir Peter Lely (1618–1680), originally Pieter van der Faes, was a Dutch-born painter who became the dominant and most fashionable portraitist in England during the latter half of the 17th century. He served as the Principal Painter in Ordinary to King Charles II and his work defines the aristocratic style of the Restoration period.
Early Life and Influence
Lely was born in Soest (then part of the Dutch Republic) and trained in Haarlem, likely under the history painter Pieter de Grebber. He traveled to London around 1641, just as the Civil War began, and quickly adapted his style to appeal to the English elite. He was a great admirer and successor to the Flemish master Anthony van Dyck, whose graceful and idealized portrait style Lely adopted and popularized.
Style and Subject Matter
Lely's success lay in his ability to produce portraits that were both elegant and highly flattering to his wealthy and royal patrons.
The Restoration Style: Lely specialized in portraits of the Court and high society. His style is characterized by its smooth, polished finish, dramatic drapery, and romantic settings. He used a distinctive "languid" pose for women, often depicted in soft, flowing silk or satin gowns, with dreamy, almond-shaped eyes that became his recognizable trademark.
Master of the Group Set: Lely is famous for creating portrait series that documented key social groups of the era. His most famous are the "Windsor Beauties" (portraits of the beautiful ladies of the court) and the "Flagmen" (portraits of the naval heroes of the Anglo-Dutch Wars).
Flattery and Idealization: Unlike the psychological depth of Rembrandt or the rugged realism of Hals, Lely prioritized idealization. His portraits rarely showed signs of aging or imperfection, making him immensely popular with the monarchy and nobility who sought to project an image of timeless status and glamour.
Lely received a knighthood shortly before his death and his highly influential, sophisticated style dominated English portraiture until the end of the century.
