The True Size of Miniature

The art of miniature painting can be a complex subject to grasp, but by delving into its rich history, we can gain a deeper understanding. It is important to note that while I have discussed this topic previously, the information bears repeating in this context. In this article, we will focus on the portrait miniature, a particularly well-documented form of this art, as it offers a window into the past and the skillful techniques used by the masters. As a painter that creates miniatures in all sizes and wants to see the knowledge of its true history known by public, this is a topic close to my heart.

What is a miniature?

The term “miniature” has a rich history that can be traced back to the word Minium. Minium, which translates to red lead, was commonly used in the creation of the earliest miniature paintings. This term referred to the techniques used in the production of these works of art, rather than their physical size. This type of miniature painting became popular for its use as pocket paintings, or what we might now have as small photographs of loved ones in our wallets to carry with us (or now phones as the case may be). Some were also designed to be pendants or necklaces. In any case, for practicality they were small for ease of handling.

What is lesser known is what is termed as a cabinet miniature. These are also miniature paintings but were larger and therefore not practical to be carried around. They were stored in cabinets, curio or curiosity cabinets, for protection from fading and other damage.

Technique and Material of Traditional Miniature

In the early days of miniature painting, the preferred surface was vellum. These works were primarily used to visually depict the text in books (which confined the illustration’s size by the size of the pages in a book), aiding those who were less literate in comprehending the written text. Due to the delicate nature of vellum, excessive use of water could cause the surface to warp and buckle. This is why traditional miniature painting often features meticulous strokes and intricate details – it was a necessary technique in order to preserve the integrity of the work. Later on, ivory became a popular surface for miniature painting, though it too was susceptible to cracking especially in larger sheets and required a similar level of precision in the application of paint. Despite these challenges, miniature paintings were created on both vellum and ivory, even in larger sizes. Later paper card was also used as a painting surface, this eliminated some of this challenge of unfortunate damage.

When painting larger detailed work it becomes a daunting task. Even professionals shy away from the task of covering such large areas with meticulous miniature details.

Sizing Things Up

In the realm of traditional miniature painting, it is not uncommon to encounter depictions of insects and small mammals that are life-sized. Professional experts in this field have noted that there are no set guidelines in terms of the size of the subject matter to be portrayed. Additionally, the dimensions of the finished works are not fixed, as it is possible for a miniature painting to be created on a scale that is the size of a wall as stated in “The English Miniature” (John V. Murdoch, Patrick J. Noon, Roy Strong, V. J. Murrell, 1981, Yale University). Ultimately, the appearance and size of a miniature painting are matters of personal preference for both collectors and exhibitors, but these do not effect the criteria for what traditional miniature painting is.

Contemporary work

The contemporary miniature art community primarily concentrates on hand-held or pocket-sized miniatures, overlooking cabinet miniature paintings. Through conversations with industry professionals, it has become apparent that the emphasis on smallness in exhibitions is primarily driven by the need to showcase a vast number of artworks within limited exhibit spaces. The concept of scale was established by early exhibition organizers at a now defunct organization in New Jersey who sought to exclude close-up artworks from their events, thus the arbitrary measurement of 1/6 of life-sized scale was implemented and has since been adopted by many other exhibitions.
As the attention of these organizations is solely directed towards pocket miniatures, and many artists are reluctant to create larger, more intricate pieces due to the tedious nature of the process, the cabinet miniature may have been relegated to obscurity if not for the efforts of museums and institutions to preserve the art form in their collections and educate the public, the knowledge and appreciation of this type of miniature would have been largely lost.

Examples of Portrait Miniatures of Size

The world of cabinet miniatures is a fascinating and intricate one, with many examples of preserved specimens that showcase the skill and attention to detail of their creators. However, the example provided in this article is just a quick reference and only scratches the surface of the vast array of miniatures that exist.

To truly appreciate the world of miniatures, one must delve deeper and explore the many types of this form of painting. These miniatures are not only works of art, but also provide a window into the past and the cultural and historical context in which they were created. Each piece tells its own unique story and offers a glimpse into a different time and place. It is truly a testament to the skill and dedication of the artists who created these masterpieces.

The Bennie Children ("The Evening Hour"), 1847, John Faed, Watercolor on Ivory, 13" x 9.5", Portrait Miniatures, National Galleries Scotland
The Bennie Children (“The Evening Hour”), 1847, John Faed, Watercolor on Ivory, 13″ x 9.5″, Portrait Miniatures, National Galleries Scotland
Charlotte, Viscountess Canning (1817-1861), and her sister Louisa Anne, Marchioness of Waterford (1818-1891), Robert Thorburn, Watercolor on Ivory, 19.5" x 13.75", Portrait Miniatures, National Galleries Scotland

Eben William Robertson (1815-1874), c.1850, Sir William Charles Ross, Watercolor on Ivory, 9.5" x 7", Portrait Miniatures, National Galleries Scotland
Charlotte, Viscountess Canning (1817-1861), and her sister Louisa Anne, Marchioness of Waterford (1818-1891), Robert Thorburn, Watercolor on Ivory, 19.5″ x 13.75″, Portrait Miniatures, National Galleries Scotland

Eben William Robertson (1815-1874), c.1850, Sir William Charles Ross, Watercolor on Ivory, 9.5″ x 7″, Portrait Miniatures, National Galleries Scotland
Mary Helen Duncan (b.1835) and her sister Jane Duncan (b.1839) c.1850, William Borthwick Johnstone, Watercolor on Ivory, 11.375″ x 8.875″, Portrait Miniatures, National Galleries Scotland
Rubens, His Wife Helena Fourment, and Their Son Peter Paul, 1721, Bernard Lens Fecit, Vellum, 15.5" x 11.875", European Miniatures, The Metropolitan Museum of Art
Rubens, His Wife Helena Fourment, and Their Son Peter Paul, 1721, Bernard Lens Fecit, Vellum, 15.5″ x 11.875″, European Miniatures, The Metropolitan Museum of Art