Robert Hunter (painter)
He studied under the elder Pope, and had a considerable practice in Dublin in the middle of the eighteenth century.
His early work tended to be three-quarter portraits with a landscape as a background.
[3] He had an extensive practice until the arrival of Robert Home in 1783, who attracted Hunter's prime business.
Hunter contributed frequently to the Dublin Society of Artists after helping to found it.
Many of his portraits were engraved in mezzotint, including John, lord Naas (by W. Dickinson), Simon, earl Harcourt,[1] now at Nuneham Park (by E. Fisher), Dr. Samuel Madden (by R. Purcell), John Wesley, painted in Dublin (by James Watson), and others.
The entry from A Dictionary of Irish Artists (1913) reads: Robert Hunter, the principal portrait painter of his time in Ireland, was a native of Ulster, but of his family and of his early years nothing is known.
A portrait by him of Tom Echlin, the noted Dublin wit, was engraved and published by Edward Lyons of Essex Street in 1752.
In 1753 Hunter painted a portrait of Sir Charles Burton, Lord Mayor, which was afterwards engraved in mezzotint by J. McArdell; and ten years later, in 1763, the Dublin Society awarded him a premium of ten guineas for a full-length portrait of Lord Taaffe, which was engraved in mezzotint the same year by John Dixon.
He contributed six works, including a "Susanna and the Elders," to the exhibition of the Society of Artists in George's Lane in 1765, and was then living in Bolton Street.
He was employed by the Corporation of Dublin in 1788 to repair a portrait of Charles II.
Hunter was for many years at the head of his profession as a portrait painter and had a large and profitable practice; but after the arrival of Robert Home in 1780 his vogue declined.
In Carey's "Memoirs" he is described as "a walking chronicle of everything relative to the Irish artists and arts and was intimate with Madden and Prior."
"Sleator's Gazetteer" for 12 March 1763, contains verses on the merits of Hunter as a portrait painter.
After lauding his great genius and matchless merits the writer concludes with the lines: Could Hogarth, Reynolds, view the bold design, They'd gladly weave their richest wreaths with thine.
Hunter's works are good in colour and evince considerable talent.
An excellent example is the "Portrait of a Gentleman" which was formerly at Bellevue, Co. Wicklow, and was sold in 1906, a work which might almost pass as a Reynolds or a Cotes.
Engraved in mezzotint by R. Purcell, 1755, and in stipple, bust only, by S. Harding for "European Magazine," 1802.
Painted in 1763 and obtained the premium of 10 guineas given by the Dublin Society for the best portrait.
A small print by E. Bocquet was published by J. Scott, Strand, London, in 1806.
In "The Dublin Chronicle," January 22–24, 1788, is the following: "The Marquess of Buckingham a few years ago sat for his picture to Hunter.
Done from that much-esteemed picture painted at Dublin now in possession of William Weaver.
A Gentleman in blue, Russian costume, standing by a window on which rests an architectural plan.
