Catherine Savery Hand-painted oil painting – standard and custom sizes

Marcellus Laroon II: A London Drapery and Cry of the City

Marcellus Laroon, a name perhaps less familiar than those of his contemporaries Rembrandt or Van Dyck, nevertheless holds a significant place in 17th-century English art. Born in The Hague around 1653, he arrived in London as a young man, bringing with him the artistic sensibilities of his Dutch heritage and quickly establishing himself as a skilled painter and engraver deeply attuned to the vibrant, often gritty, realities of urban life. His legacy rests primarily on his evocative depictions of drapery – an area where he achieved unparalleled mastery – and his poignant portrayals of “The Cries of London,” a series of prints that captured the voices and scenes of everyday commerce within the city’s bustling streets.

Laroon's early artistic education was firmly rooted in his father’s workshop. Marcellus Lauron, a painter of French extraction who had settled in the Netherlands, instilled in his son a foundational understanding of technique and composition. It is believed that Laroon received initial instruction from “La Zoon,” an enigmatic figure whose precise identity remains obscure, before studying under one of the Flessiers – a family of Dutch painters and framemakers renowned for their work in London during the mid-17th century. This formative period exposed him to both traditional methods and the burgeoning artistic trends of the time. His early years in Yorkshire provided a crucial stepping stone, allowing him to hone his skills and develop a distinctive style before settling permanently in London by 1674, where he secured membership in the Painter-Stainers Company – a testament to his growing reputation.

The Art of Drapery: A Master’s Technique

Laroon's fame is inextricably linked to his extraordinary ability to render drapery with breathtaking realism and dynamism. Unlike many of his contemporaries who treated fabric as merely a backdrop, Laroon elevated it to the central focus of his compositions. He possessed an almost uncanny understanding of how light interacted with different materials – velvet, silk, linen – capturing their textures, folds, and movement with meticulous detail. This wasn’t simply technical proficiency; it was a deep appreciation for the inherent beauty and complexity of fabric itself. As Horace Walpole and Bainbrigg Buckeridge noted in their brief biographies, Laroon “followed nature very close,” prioritizing accuracy and observation above all else. His paintings frequently featured figures enveloped in elaborate garments, seemingly caught mid-movement as they interacted with their surroundings – a testament to his skill in conveying both form and feeling.

His work for Sir Godfrey Kneller, the renowned portrait painter, further solidified his reputation. Laroon’s ability to accurately depict the folds and textures of clothing was particularly valuable in creating convincing portraits, adding depth and realism to the subjects' appearances. He wasn’t merely copying; he was interpreting, translating the visual language of fabric into a compelling narrative.

“The Cries of London”: A Window into Urban Life

Perhaps Laroon’s most enduring contribution to English art lies in his series of prints depicting “The Cries of London.” Commissioned by Pierce Tempest, these images captured the diverse voices and scenes of everyday commerce within the city – from the milk-seller hawking his wares to the pie-vendor offering a savory treat. These weren’t idealized depictions of urban life; they were raw, unvarnished portrayals of the realities faced by Londoners in the 17th century. The prints are remarkably detailed and evocative, capturing not only the physical appearance of the vendors but also their distinctive cries – “Strawberries now! Strawberries now!” – which became instantly recognizable to Londoners.

The series was a remarkable success, providing a valuable historical record of London life. John Savage’s engravings brought Laroon's drawings to a wider audience, cementing his place in the history of English printmaking. The “Cries of London” are more than just illustrations; they are miniature snapshots of a bygone era, offering a poignant glimpse into the lives and voices of ordinary people.

Beyond Drapery: Portraits and Mezzotints

While best known for his drapery paintings and prints, Laroon was also a prolific portrait painter and engraver. He produced numerous small portraits, often characterized by their intimate scale and informal style – a departure from the more formal conventions of courtly portraiture. These works frequently depicted members of London society, capturing their personalities with remarkable sensitivity. He also excelled in mezzotint prints, creating striking images on similar subjects to his engravings.

His self-portrait, revealing the scars resulting from a street fight, offers a rare and intimate glimpse into the artist’s life – a testament to his willingness to expose his vulnerabilities and embrace the realities of urban existence. Laroon's versatility as an artist is evident in the breadth of his output, demonstrating his ability to adapt his style and technique to suit diverse subjects and media.

A Legacy of Observation and Detail

Marcellus Laroon died in Richmond in 1702, leaving behind a significant body of work that continues to captivate art historians and enthusiasts today. His legacy is one of meticulous observation, technical mastery, and a profound appreciation for the beauty and complexity of everyday life. He wasn’t merely depicting scenes; he was capturing moments – frozen in time with an unparalleled level of detail and emotional resonance. Laroon's work serves as a powerful reminder of the importance of paying attention to the world around us and finding beauty in the most unexpected places, solidifying his place as a pivotal figure in 17th-century English art.