All three factors are equally important to create contemporary fine art in miniature, helping to set this specialised field apart and maintain a crucial link to it's traditions. Just because a painting is small does not make it a miniature, likewise fine detail alone is not enough. Some societies use a 1/6th guideline for scale, others that a portrait head or principle object cannot be more than 2" (with naturally tiny subjects there is some flexibility). One of the descriptions often used is that a miniature painting is 'portable' and should fit in the palm of your hand.

Historically this kind of painting was known as limning and referred simply to watercolour paintings on vellum. These were originally stuck to a playing cards for support and grew out of the techniques used to illustrate hand-written books, often practiced by the same artists.  (A wonderful example is 'The Golf Book' by Simon Bening, which measures 4" x 3.5", from the 16th century. If you don't have broadband click here instead).

Over the centuries it has evolved to encompass changing trends and ideas; today many different mediums and surfaces are used for a wide variety of subject matter by artists all over the world.  Katherine Coombs is the curator of the miniature collection at the V&A and explains their history in fascinating detail in her papers and book, The Portrait Miniature in England.

Anyone keen to learn more from contemporary artists will find this book excellent: Techniques of Painting Miniatures by Sue Burton, a founding member of the Hilliard Society in the UK. (Clicking on the title will allow you to see a preview).

Thanks to the efforts of some very experienced miniature artists over the past few years, the following links to societies and individuals will give you an insight into the fascinating world of 'painting in the little':