(b. 1727, Sudbury, d. 1788, London)
Johann Christian Fischerc. 1780
Oil on canvas, 228,6 x 150,5 cm
Royal Collection, Windsor
Johann Christian Fischer (1733-1800) was an outstanding musician. He was born in Germany at Freiburg-im-Breisgau and played for a time in the court band at Dresden before entering the service of Frederick the Great. On coming to London, where he is first recorded on 2 June 1768, he became a member of Queen Charlotte's Band and played regularly at court. His performance of Handel's fourth oboe concerto during the Handel Commemoration at Westminster Abbey in 1784 gave particular pleasure to George III. Regardless of such successes, he failed in 1786 to secure the post of Master of the King's Band. He collapsed in 1800 while playing in a concert at court and died shortly afterwards.
Fischer was a composer and virtuoso oboist. His two-keyed oboe is visible on the harpsichord-cum-piano against which the musician leans. Fanny Burney praised the 'sweet-flowing, melting celestial notes of Fischer's hautboy,' but the Italian violinist Felice de' Giardini (1716-93) referred to Fischer's 'impudence of tone as no other instrument could contend with.' In the portrait on the chair behind Fischer is a violin, on which he was apparently also an accomplished performer although only in private. The harpsichord-cum-piano, made by Joseph Merlin who came to London from the Netherlands in 1760 and established a successful business in the production of pianofortes, presumably refers to his abilities as a composer, as no doubt do the piles of musical scores.
This portrait of Johann Christian Fischer stands as testimony to Gainsborough's own love of music. The artist preferred the company of actors, artists, dramatists and musicians to that of politicians, writers or scholars, and was himself a talented amateur musician in addition to being a painter. Gainsborough once wrote to William Jackson: 'I'm sick of Portraits and wish very much to take my Viol da Gamba and walk off to some sweet Village when I can paint Landskips and enjoy the fag End of Life in quietness and ease.' Yet some of his finest portraits are of musicians and include, in addition to that of Fischer, the composer Karl Friedrich Abel (San Marino, Henry E. Huntington Library and Art Gallery) and Johann Christian Bach (Bologna, Museo Civico, Bibliografico Musicale). These two portraits date from the late 1770s, whereas that of Johann Christian Fischer was exhibited at the Royal Academy in 1780.
Gainsborough seems to have known Fischer while he was still living in Bath (Fischer moved permanently to London in 1774). As early as 1775 Fischer evinced an interest in the artist's elder daughter Mary (1748-1826), whom he married at St Ann's Church, Soho, on 21 February 1780. The wedding was agreed to reluctantly by Gainsborough, who, although he admired Fischer as a musician, perhaps hoped that his elder daughter might make a better marriage, and lodged doubts about the musician's character. He wrote to his sister on 23 February 1780: 'I can't say I have any reason to doubt the man's honesty or goodness of heart, as I never heard anyone speak anything amiss of him; and as to his oddities and temper, she must learn to like as she likes his person, for nothing can be altered now. I pray God she may be happy with him and have her health.' The marriage did not last and Mary gradually became insane. Whatever tensions Gainsborough might have been experiencing with regard to Fischer's relationship with his daughter, Gainsborough's portrait is masterly in its compositional sophistication, use of colour and sympathetic characterisation. It is clear, however, that the likeness has been painted over another portrait which will no doubt be revealed by X-ray. The portrait came into the Royal Collection indirectly. It appears to have been painted for Willoughby Bertie, 4th Earl of Abingdon (died 1799), a radical politician and a talented amateur musician, but was sold by his successor. Eventually it was acquired by Ernest, Duke of Cumberland, who in 1809 presented it to his brother, the Prince of Wales (later George IV). Both were admirers of Gainsborough's work.