William Hoare of Bath was a prominent English portraitist, painter, and engraver during the 18th century. Born in 1707 in Eye, Suffolk, he received his initial art education in London under the tutelage of Giuseppe Grisoni, a notable Italian painter and decorator. Afterward, Hoare embarked on a Grand Tour, which was a customary educational trip across Europe undertaken by many artists of the era. During his travels, he spent significant time in Italy, particularly Rome, where he honed his skills and was influenced by the works of classical and contemporary Italian masters.
Hoare settled in Bath, a city that was becoming a fashionable spa town and a hub for the social elite of England. His arrival in Bath around 1738 coincided with the city's rising popularity, and he quickly became the leading portraitist there, painting the many notable visitors who came to take the waters. Unlike his contemporaries who primarily used oil paints, Hoare was proficient in pastel, a medium that was gaining popularity at the time for its delicate and luminous qualities.
Throughout his career, Hoare enjoyed the patronage of wealthy and influential clients, including members of the British aristocracy. He became closely associated with the architect John Wood the Elder and his son, who were instrumental in designing much of Georgian Bath. This association with the Woods and other leading figures helped cement Hoare's reputation as a significant portraitist of his time.
William Hoare was a founding member of the Royal Society of Arts and was elected to the Society of Artists in 1769. He exhibited his work frequently and was known for his refined style, characterized by elegance and a deft touch with pastels. His portraits were often praised for their likeness to the sitters and the grace with which he depicted them.
Hoare's legacy continued through his family, as his son, Prince Hoare, became a well-known playwright and painter, ensuring that the Hoare name remained prominent in the arts. William Hoare of Bath passed away in December 1792, leaving behind a body of work that provides a valuable insight into the society and culture of Georgian England.