11.6 Conclusion
Worlidge was one of the first artists in England to recognise the potential of the tronie. He created hybrid works at the interface between tronie and portrait. His etchings were well received for their openness of content, sophisticated technique and references to contemporary trends. It was an intellectual challenge for the viewer to decipher the original sources or to decode the sometimes subtle, sometimes obvious references to Rembrandt. In the age of Gersaint’s catalogue and emerging connoisseurship, this certainly contributed to the special appeal of the works. Contemporary appraisals show that he was indeed highly regarded for his art during his lifetime.
Worlidge is said to have sold his prints in shops along the route to Bath. It is possible, therefore, that he distributed the prints in order to demonstrate his virtuosity with the etching needle, while at the same time demonstrating his ability to keep up with artistic tastes. In this way he was able to generate further commissions, which is also indicated by his signature on the works.
But it was not only Rembrandt’s distinctive style as a fashionable phenomenon that made the tronies attractive objects to buy and collect. It was also the motif of the face, which linked to English preferences in both portrait painting and printmaking, and which continued to feed English buyers’ interest in facial representations. The motifs of clothing and headdress, which alluded to the Western image of the so-called ‘Orient’, also contributed to the popularity of the tronies, as the so-called ‘Turkish fashion’ flourished in England in the 1750s. Through travelogues and objects brought back from afar, people sought to appropriate other cultures and create their own image, which was expressed through clothing, especially in portraiture.
Worlidge’s example marks the beginning of a very enthusiastic and intense reception of Rembrandt in England, mainly through prints at the beginning of the 18th century. With his works close to Rembrandt, Worlidge opened up the market for many other artists to follow. It can be assumed that Worlidge created his etchings as a form of publicity for himself, aimed primarily at the aristocratic public he portrayed mainly in Bath. However, his second residence in London enabled him to be equally successful in the city. From the 1760s Worlidge also participated in the prestigious exhibitions of the Society of Artists in London. Worlidge can therefore be described as a successful and even famous artist during his lifetime – a fame that he achieved with the help of Rembrandt’s prints.