Thomas Bardwell: A Norwich Portraitist and Pioneer of Artistic Instruction
Thomas Bardwell (1704 – 1767) stands as a significant figure in the artistic landscape of eighteenth-century England, particularly within Norwich and its burgeoning cultural scene. Initially establishing himself as a painter of decorative panels for his family’s business in Bungay, Suffolk, Bardwell swiftly ascended to prominence through commissions that showcased both technical skill and imaginative vision—a testament to his dedication and innate talent. His early portraits, notably two conversation pieces dating back to 1736 – one possibly depicting the Brewster family of Beccles – already garnered attention and secured a place within the esteemed collection of the Geffrye Museum, marking him as an artist attuned to contemporary tastes.
A pivotal moment in Bardwell’s career arrived in 1746 when he was entrusted by the Artillery Company of Norwich with the ambitious task of portraying William Crowe, who would subsequently become mayor of the city. This undertaking broke the longstanding monopoly on civic portraiture held by John Theodore Heins—a German-born artist—establishing Bardwell as a trailblazer and securing his reputation as a champion of artistic innovation within Norwich’s cultural sphere. The resulting portrait became the inaugural piece in a series of nine canvases displayed at St Andrew's Hall, solidifying Bardwell’s position as one of Norwich’s foremost artists.
Throughout the 1740s and 1750s, Bardwell cultivated an impressive portfolio in London, producing works that reflected the stylistic currents of the era. Among his notable achievements was ‘Joshua Ward Receiving Money from Britannia,’ a striking allegorical painting completed in 1748. Executed by Bardwell himself, this masterpiece portrays Joshua Ward—a prominent London physician—amidst symbolic representations of Britannia and charity, accompanied by a diverse crowd of patients. Currently housed within the Royal College of Surgeons’ collection, the portrait once graced Ward's parlour in Whitehall, underscoring Bardwell’s ability to capture both historical narrative and moral sentiment. An engraving after this work, produced by Bernard Baron in 1748-9, further disseminated Bardwell’s artistic legacy.
Bardwell’s influence extended beyond commissioned portraits; he was a prolific writer and educator. In 1752-3, he undertook extensive projects across Yorkshire and Scotland, demonstrating his versatility as an artist and humanist. His magnum opus, ‘The Practice of Painting and Perspective Made Easy,’ published in 1756 and dedicated to the Earl of Rochford, stands as a landmark achievement in artistic instruction. Printed by Miller of Bungay, this treatise—available from Bardwell himself at “the golden lamp, in Rose Street, near the end of Covent Garden”—provided accessible guidance on painting techniques and perspective, earning praise from Edward Edwards who recognized Bardwell’s book as "the best that have hitherto been published." Despite acknowledging Bardwell's artistic shortcomings, Edwards lauded its clarity and effectiveness. A second edition appeared in 1773.
Bardwell’s legacy continues to resonate within Norwich art history. As noted by a general history of the county published in 1829, “the best of his portraits are at Langley,” highlighting the enduring admiration for Bardwell's artistic prowess. His contribution to British painting is commemorated through works such as ‘Sir Thomas Churchman,’ which exemplify the stylistic conventions of his time and contribute to our understanding of eighteenth-century artistic culture. Ultimately, Thomas Bardwell’s dedication to craftmanship and artistic innovation cemented his place as a pivotal figure in Norwich's cultural heritage—a testament to his enduring influence on British art.
