Jean, wife of John Adam

Art Historical Context

In the late 18th century,-born artist James Tassie, working in London, captured the refined elegance of British society through his masterful glass paste portraits. This intimate profile medallion, titled *Jean, wife of John* and dated 1791, the sitter in a classicizing profile view, evoking the poised femininity admired in neoclassical art. Measuring just 4 × 5 inches (10.2 × 12.7 cm), it exemplifies Tassie's skill in rendering delicate features with lifelike precision. Glass paste, Tassie's signature medium, was a groundbreaking vitreous material that mimicked the translucency and durability of ancient cameos and gemstones without their fragility or cost. Fired and polished to a gem-like sheen, it allowed for vibrant colors and fine details, making these small-scale sculptures accessible to collectors and the elite. Produced during a revival of classical portraiture, this piece reflects the era's fascination with antiquity and personal commemoration. Now housed in the Metropolitan Museum of Art's Department of European Sculpture and Decorative Arts—thanks to the 1923 bequest of Mary Clark Thompson—this artwork highlights the intersection of artistry and everyday prestige in Georgian Britain, inviting us to ponder Jean's world through Tassie's enduring craft.

About the Artist

James Tassie · 1735–1799

James Tassie (1735–1799) was a Scottish modeler and gem engraver who became one of the most celebrated producers of portrait medallions and reproductions of antique gems in eighteenth-century Europe. Born near Glasgow, Tassie initially trained as a mason's apprentice before his artistic talents drew him toward finer work. Moving to Dublin, he collaborated with the physician and amateur chemist Hen...