A long-time friend of the Rossettis, Vernon Lushington (1832-1912) sought
this portrait in July 1865. DGR's reply is interesting for the general comments
he makes about his approach to portrait painting: “I must frankly say that,
whenever I have undertaken a portrait as such, I have always felt myself so encumbered
with anxiety as to getting a good likeness (without which it is of no value
whatever to friends) that I have generally failed in this more than in any
other kind of work.” DGR went on to say that he was too busy to
undertake anything but “a drawing of Mrs. Lushington, could she kindly
give me an hour or two's sitting any day most suitable to herself after Wednesday next,
at 12 noon?” (
Fredeman, Correspondence, 65. 108
).
Two drawings of Mrs. Lushinton are known, both from 1865, each quite different.
The more finished of the two is in the Tate. The
other is the
study in the Fogg Museum.
This collection contains 2 texts and images, including:
Tate drawing (reproduction); Fogg Museum of Art pencil sketch
Scholarly Commentary
Introduction
A long-time friend of the Rossettis, Vernon Lushington (1832-1912) sought this portrait in July 1865. DGR's reply is interesting for the general comments he makes about his approach to portrait painting: “I must frankly say that, whenever I have undertaken a portrait as such, I have always felt myself so encumbered with anxiety as to getting a good likeness (without which it is of no value whatever to friends) that I have generally failed in this more than in any other kind of work.” DGR went on to say that he was too busy to undertake anything but “a drawing of Mrs. Lushington, could she kindly give me an hour or two's sitting any day most suitable to herself after Wednesday next, at 12 noon?” ( Fredeman, Correspondence, 65. 108 ).
Two drawings of Mrs. Lushinton are known, both from 1865, each quite different. The more finished of the two is in the Tate. The other is the study in the Fogg Museum.