Opdateret oktober 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 89 værker af Jonathan Richardson Den Ældre i vores katalog
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Af alle de originale værker, som Jonathan Richardson Den Ældre efterlod, er det mest berømte Garton Orme at the Spinet (1707), som er en del af samlingen på The Holburne Museum i Bath. Lige efter følger William Cheselden (1688–1752) (1730) og Sir Nathaniel Curzon (1676–1758), 4th Bt Curzon, with His Wife, Mary Assheton (1695–1776), Lady Curzon, and Their Son Nathaniel (1726–1804), Later Nathaniel Curzon, 1st Baron Scarsdale, with Their Dead Son John Curzon (1719–1720), in the Clouds above (1730). Vores katalog indeholder 89 værker af Jonathan Richardson Den Ældre; galleriet har bevaret de 88 værker, som verden beundrer mest, hver vist med sin dato, sit museum og sin historie.
1. Garton Orme at the Spinet 1707
2. William Cheselden (1688–1752) 1730
3. Sir Nathaniel Curzon (1676–1758), 4th Bt Curzon, with His Wife, Mary Assheton (1695–1776), Lady Curzon, and Their Son Nathaniel (1726–1804), Later Nathaniel Curzon, 1st Baron Scarsdale, with Their Dead Son John Curzon (1719–1720), in the Clouds above 1730
The portrait titled Garton Orme at the Spinet is a work by the English painter Jonathan Richardson the Elder. Created around 1707, this piece offers a glimpse into the refined domesticity of the early eighteenth century. It captures a moment of quiet focus, centering on a young subject engaged with a musical instrument.
A man emerges from a deep, shadowy void, his presence commanding the space with a quiet, scholarly dignity. He wears a heavy red robe, the fabric catching a soft light that defines the folds of the hood resting upon his head. His gaze is steady, carrying the weight of a life spent in contemplation or perhaps the gravity of a man accustomed to being observed. A subtle mustache traces his…
A Glimpse into the Artistic Brilliance of Jonathan Richardson The Elder Jonathan Richardson The Elder's painting, Sir Nathaniel Curzon (1676–1758), 4th Bt Curzon, with His Wife, Mary Assheton (1695–1776), Lady Curzon, and Their Son Nathaniel (1726–1804), Later Nathaniel Curzon, 1st Baron Scarsdale, with Their Dead Son John Curzon (1719–1720), in the Clouds above, is a testament to his exceptional skill as an artist. This oil on canvas masterpiece, measuring 229…
The gaze of Lady Holland meets the viewer from across the centuries, captured in a formal portrait by Jonathan Richardson the Elder. Created in 1704, this work presents a woman who carries herself with the quiet dignity of the early 18th century. She sits in a three-quarter view, her presence defined by a controlled and poised posture that suggests a life of significant social standing. The way she holds herself,…
Judith Parsons is a portrait executed by Jonathan Richardson the Elder. Created around 1710, the work presents a three-quarter length depiction of the sitter, who gazes directly at the viewer. The subject is identified by an inscription at the top of the composition: "Judith, dnu’ of John Persons of Thornton in Walter Jones Rector of Upton".
The Portrait of a Sea Officer is an oil on canvas painting by the English artist Jonathan Richardson the Elder. Created about 1700, this work belongs to the genre of portraiture. It captures a single figure through the deliberate application of pigment on fabric.
The gaze of Sir Richard Steele meets the viewer through this formal portrait, a work that captures the presence of the Anglo-Irish writer, playwright, and politician. He sits with a quiet dignity, his likeness preserved by the hand of Jonathan Richardson the Elder. The artist, a significant figure in the development of English portraiture, renders the subject with a focus on the character and social standing of a man deeply…
The air in the room seems to settle around the figure of John Carmichael, 3rd Earl of Hyndford, as he meets the viewer's gaze. He stands with a quiet, commanding stillness, his body angled slightly to suggest a man accustomed to being observed. There is a profound sense of weight to his presence, anchored by the structured lines of his attire. His coat, heavy and meticulously rendered, falls with a…
The portrait titled The Reverend William Lucy (1673 1674–1723 1724) features an elderly man who appears to be a clergyman or a scholar. This oil on canvas work was executed by the English artist Jonathan Richardson the Elder. The painting dates to about 1723.
Jonathan Richardson the Elder painted this portrait of Henry St John, 1st Viscount Bolingbroke, about 1730. The subject was a prominent British Tory politician and philosopher who rose to become a leader of the Tories. His political career was marked by significant controversy, including his support for the Jacobite rebellion of 1715.
Alexander pope1738 · Yale Center for British Art
12
Lord Matthew Aylmer (c.1655–1720)1693 · National Maritime Museum
13
Admiral Sir John Balchen (1670–1744)1695
14
Sir Robert Davers (1652 1653–1722), 2nd Bt, MP1700 · Ickworth
15
John Sheffield (1647–1721), 1st Duke of Buckingham and Normanby1705 · Examination Schools
16
Portrait of the Artist with His Palette and Manuscripts1700 · Fairfax House
17
The Dryden Family Edward Dryden (d.1717), His Wife, Elizabeth Allen and Their Children, John Dryden (c.1704–1770), Later Sir John Dryden, 7th Bt Bevill Dryden (d.1758) and Mary Dryden, Later Mrs Allen Puleston1710 · Canons Ashby House
18
Mary Langham (1653 1654–1690 1691), Countess of Warrington1705 · National Trust
19
Fisher Harding (active 1698–1701), Master Shipwright, with the Launch of the 'Royal Sovereign', 17011701 · National Maritime Museum
20
Thomas Grey (1654–1720), 2nd Earl of Stamford1705 · National Trust
21
Archdeacon Edward Talbot (1693–1720)1715
22
Lady Mary Wortley Montagu (1689–1762)1718
23
Josiah Bateman1718 · Birmingham Museum and Art Gallery
24
Elizabeth, 1st Countess of Aylesford (d.1743)1720 · Birmingham Museum and Art Gallery
25
Martin Folkes (1690–1754)1718
26
Sir Richard Hoare I (1648–1718), Kt, as Lord Mayor1712
27
Henry Hare (1693–1749), 3rd Baron Coleraine1715
28
Isaac Ambrose, Clerk of the Irish House of Commons1720 · Castle Ward
29
Thomas Tufton (1644–1729), 7th Earl of Thanet1719 · Abbot Hall Art Gallery
30
Sir William Wyndham, 3rd Bt1714 · National Portrait Gallery
31
Richard Boyle, 3rd Earl of Burlington and 4th Earl of Cork1719
32
Sir Robert Walpole, KG (1676–1745)1726
33
Self Portrait1728 · Polesden Lacey
34
George, 1st Earl of Mount Edgcumbe (1720–1795) and Richard, 2nd Baron (1716–1761)1725
35
Sir Robert Davers (c.1684–1723), 3rd Bt1723 · Ickworth
36
Sir Hans Sloane (1660–1753), Bt1730 · Examination Schools
37
Charles (1701–1750), 2nd Duke of Richmond and Lennox, KG1724 · The Library And Museum of Freemasonry
38
Portrait of the Artist's Son, Jonathan1732 · Walker Art Gallery
39
John Carmichael (1701–1767), 3rd Earl of Hyndford, Diplomat1726 · Scottish National Portrait Gallery
40
Richard Hale (1670–1728)1733
41
George Vertue1733 · National Portrait Gallery
42
Jonathan Richardson1729 · National Portrait Gallery
43
Called 'Henrietta Shelley (1731–1809), Countess of Onslow' (but really Lady Henrietta Godolphin, d.1776 , Duchess of Newcastle)1730 · National Trust
44
James Lowther (1673–1755), 4th Bt1734
45
Henry Plumptre (1680–1746)1744
46
Alexander Pope1737 · National Portrait Gallery
47
Martin Benson, Bishop of Gloucester1740
48
Portrait of the Artist's Son, Jonathan Richardson the Younger, in his Study1734
49
Richard Mead1738 · National Portrait Gallery
50
Carew Harvey Mildmay of Marks Manor House, Dagenham (1694–1784)1740
51
Sir James Thornhill1734
52
Thomas Cromwell (1699–1748)1748
53
Sir James Burrow (1701–1782), Editor of Law Reports1745 · Government Art Collection
54
Matthew Prior (1664–1721)1719 · Bodleian Libraries
55
Portrait of an Unknown LadyOxburgh Hall
56
Philip Dormer Stanhope (1694–1773), 4th Earl of Chesterfield
57
George Turbill, Alderman, Mayor of Plympton Erle (1733 and 1736)
58
Juliana Boyle, Countess of Ailesbury
59
Portrait of a Gentleman (traditionally identified as Samuel Chetham)Turton Tower
60
William Brownlow (1633–1675)National Trust
61
Edward Colston (1636–1721)Council House
62
Richard Boyle (1612–1697 1698), 2nd Earl of Cork and 1st Earl of Burlington (after Anthony van Dyck)National Trust
63
Lady mary wortley montagu
64
Portrait of a girl
65
Portrait Of Alexander Pope
66
Anthony collins
67
Fisher harding, master shipwright
68
Portrait of John Gay , author of The Beggar's Opera
69
Major John Hanbury (1664–1734)
70
Portrait of Anne Hatton, Countess of WinchilseaNational Portrait Gallery
71
Richard Hoare of Ellisfield (1673–1721)
72
William Cowper, 1st Earl of Cowper (1665–1723), Lord Chancellor
73
Lady Elizabeth Cecil (1706–1733), Lady AislabieNational Trust
74
Roger Le Strange
75
Robert Harley (1661–1724), Earl of Oxford
76
Martin Benson (1689–1752), Bishop of Gloucester
77
Isaac Watts (1674–1748), DD
78
John Manners (1696–1779), 3rd Duke of RutlandNational Trust
79
Matthew Prior
80
Thomas Watson Wentworth (1693–1750), 1st Marquess of Rockingham, PoliticianSt John’s College
81
Martha Stonehouse (d.1782), Mrs Arthur Vansittart (detail)National Trust
82
Admiral Sir John Jennings (1664–1743)National Maritime Museum
83
Sir Walter St John (1622–1708), 3rd BtLydiard House
84
Elijah Fenton (1683–1730)Brampton Museum
85
Henry St John (1678–1751), 1st Viscount Bolingbroke, Baron St John of Lydiard TregozeLydiard House
86
Henrietta Pelham Holles (d.1776), 1st Duchess of Newcastle under LyneThe University of Nottingham
87
Richard Hale (1670–1728)Bodleian Libraries
88
George Oxenden (1651–1703), LLD, Master (1685–1703), MP for Cambridge University (1695–1698)Trinity Hall
De fire motiver, der optræder hyppigst i disse originaler, hver med sit fineste eksempel.
#2 William Cheselden (1688–1752)
#3 Sir Nathaniel Curzon (1676–1758), 4th Bt Curzon, with His Wife, Mary Assheton (1695–1776), Lady Curzon, and Their Son Nathaniel (1726–1804), Later Nathaniel Curzon, 1st Baron Scarsdale, with Their Dead Son John Curzon (1719–1720), in the Clouds above
#7 Sir Richard Steele
#8 John Carmichael, 3rd Earl of Hyndford (1701–1767), Ambassador to Vienna (1752–1764)
De 8 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Jonathan Richardson Den Ældre | Malerier fra denne liste |
|---|---|---|---|
 National Portrait Gallery |
London | 8 | Sir Richard Steele, Henry St John, 1st Viscount Bolingbroke, Sir William Wyndham, 3rd Bt |
 National Maritime Museum |
London | 3 | Lord Matthew Aylmer (c.1655–1720), Fisher Harding (active 1698–1701), Master Shipwright, with the Launch of the 'Royal Sovereign', 1701, Admiral Sir John Jennings (1664–1743) |
 National Trust |
Derby | 2 | Sir Nathaniel Curzon (1676–1758), 4th Bt Curzon, with His Wife, Mary Assheton (1695–1776), Lady Curzon, and Their Son Nathaniel (1726–1804), Later Nathaniel Curzon, 1st Baron Scarsdale, with Their Dead Son John Curzon (1719–1720), in the Clouds above, John Manners (1696–1779), 3rd Duke of Rutland |
 Government Art Collection |
London | 2 | John Carmichael, 3rd Earl of Hyndford (1701–1767), Ambassador to Vienna (1752–1764), Sir James Burrow (1701–1782), Editor of Law Reports |
 Ickworth |
Suffolk County | 2 | Sir Robert Davers (1652 1653–1722), 2nd Bt, MP, Sir Robert Davers (c.1684–1723), 3rd Bt |
 Examination Schools |
Oxford | 2 | John Sheffield (1647–1721), 1st Duke of Buckingham and Normanby, Sir Hans Sloane (1660–1753), Bt |
 National Trust |
Altrincham | 2 | Mary Langham (1653 1654–1690 1691), Countess of Warrington, Thomas Grey (1654–1720), 2nd Earl of Stamford |
 Birmingham Museum and Art Gallery |
Birmingham | 2 | Josiah Bateman, Elizabeth, 1st Countess of Aylesford (d.1743) |
Vælg et årti for at se det originale værk, der definerer det.
The portrait titled Garton Orme at the Spinet is a work by the English painter Jonathan Richardson the Elder. Created around 1707, this piece offers a glimpse into the refined domesticity of the early eighteenth century. It captures a moment of quiet focus, centering on a young subject engaged with a musical instrument.
Judith Parsons is a portrait executed by Jonathan Richardson the Elder. Created around 1710, the work presents a three-quarter length depiction of the sitter, who gazes directly at the viewer. The subject is identified by an inscription at the top of the composition: "Judith, dnu’ of John Persons of Thornton in Walter Jones Rector of Upton".
The air in the room seems to settle around the figure of John Carmichael, 3rd Earl of Hyndford, as he meets the viewer's gaze. He stands with a quiet, commanding stillness, his body angled slightly to suggest a man accustomed to being observed. There is a profound sense of weight to his presence, anchored by the structured lines of his attire. His coat, heavy and meticulously rendered, falls with a…
A man emerges from a deep, shadowy void, his presence commanding the space with a quiet, scholarly dignity. He wears a heavy red robe, the fabric catching a soft light that defines the folds of the hood resting upon his head. His gaze is steady, carrying the weight of a life spent in contemplation or perhaps the gravity of a man accustomed to being observed. A subtle mustache traces his…
Garton Orme at the Spinet (1707), The Holburne Museum, Bath. Derefter følger William Cheselden (1688–1752) (1730) og Sir Nathaniel Curzon (1676–1758), 4th Bt Curzon, with His Wife, Mary Assheton (1695–1776), Lady Curzon, and Their Son Nathaniel (1726–1804), Later Nathaniel Curzon, 1st Baron Scarsdale, with Their Dead Son John Curzon (1719–1720), in the Clouds above (1730).
40 år gammel: Garton Orme at the Spinet er fra 1707, og Jonathan Richardson Den Ældre blev født i 1667.
Garton Orme at the Spinet, William Cheselden (1688–1752), Sir Nathaniel Curzon (1676–1758), 4th Bt Curzon, with His Wife, Mary Assheton (1695–1776), Lady Curzon, and Their Son Nathaniel (1726–1804), Later Nathaniel Curzon, 1st Baron Scarsdale, with Their Dead Son John Curzon (1719–1720), in the Clouds above, Lady Holland, Judith Parsons, Portrait of a Sea Officer, Sir Richard Steele, John Carmichael, 3rd Earl of Hyndford (1701–1767), Ambassador to Vienna (1752–1764), The Reverend William Lucy (1673 1674–1723 1724) og Henry St John, 1st Viscount Bolingbroke. Ranglisten ovenfor viser det enkelte værks årstal og museum.
Vores katalog indeholder 89 værker af Jonathan Richardson Den Ældre, dateret fra 1693 til 1745.
Primært i National Portrait Gallery (London), National Maritime Museum (London) og National Trust (Derby). Museumslisten ovenfor viser dem alle.
I 1730s: 14 af de 88 værker på denne side blev skabt dengang, herunder William Cheselden (1688–1752).
På denne side er det tidligste Lord Matthew Aylmer (c.1655–1720) (1693) og det seneste Sir James Burrow (1701–1782), Editor of Law Reports (1745).
18th century (13), Portraiture (12) og Portrait (7), fordelt på de 88 værker på denne side.
Oil On Canvas, for 11 af de 88 værker på denne side.
Neoclassicism og Baroque, baseret på originalerne på denne side.
Sir Richard Steele, Henry St John, 1st Viscount Bolingbroke og Sir William Wyndham, 3rd Bt: National Portrait Gallery, London har 8 af værkerne på denne side.
I det storslåede væv af det attende århundredes britiske kunst er få tråde så intellektuelt dybe eller visuelt vedvarende som dem, der er vævet af Jonathan Richardson Den Ældre. Født i Londons St. Botolph-sogn den 12. januar 1667, var Richardsons rejse præget af både personlige modgang og en ekstraordinær intellektuel nysgerrighed. Efter det tidlige tab af sin far, William Richardson, befandt den unge kunstner sig under sin stedfars vejledning, men det var gennem en formel læretid som skriver, at han først begyndte at forfine den præcision, som senere skulle definere hans penselstrøg. Hans sande metamorfose indtraf, da han trådte ind i kredsen omkring John Riley, en respekteret samtidig, hvis atelier fungerede som en smeltedigel for Richardsons spirende talent. Denne læringsperiode lærte ham mere end blot maleriets mekanik; den opslugte ham i en verden, hvor portrætkunsten ikke blot var en registrering af lighed, men en dybdegående udforskning af karakter og social status.
Som hans karriere blomstrede, trådte Richardson frem som en maler af bemærkelsesværdig særklasse, der skabte en niche, som balancerede de formelle krav fra det aristokratiske mæcenat med en dybt personlig, psykologisk dybde. Hans værker undveg ofte de flamboyante og teatralske detaljer, der var almindelige i visse barokke kredse, og valgte i stedet en underspillet elegance og en beherskelse af subtile tonale gradueringer. Påvirket af Rembrandts dramatiske chiaroscuro og den omhyggelige observation, man finder i værkerne hos senere mestre som Wright of Derby, besad Richardson en unik evne til at indfange sine subjekters stille værdighed. Uanset om han skildrede den intellektuelle tyngde hos Richard Hale eller den rolige, lærde atmosfære omkring Matthew Prior, fungerede hans lærreder som vinduer ind i oplysningstidens ånd, hvor nøjagtighed og en evokativ følelse af nærvær blev prioriteret over ren ornamentik.
Mens hans portrætter fortsat er elskede for deres æstetiske ynde, ligger Richardsons mest vedvarende bidrag til kunstverdenen i hans rolle som pioner inden for kunstteori. Han var langt mere end en udøver af håndværket; han var dets mest veltalende filosof. Gennem sit skelsættende værk, An Essay on Painting, udgivet i 1715, leverede Richardson et fundamentalt rammeværk for engelsk kunst, der søgte at løfte malernes status fra blot at være håndværkere til at være respekterede intellektuelle. Denne afhandling diskuterede ikke blot teknik; den udforskede selve skønhedens natur, vigtigheden af opfindsomhed og den moralske vægt af kunstnerens vision. Hans skrifter fungerede som en bro mellem de gamle mestres traditioner og den spirende nationale identitet i britisk kunst og skabte en diskurs, der ville genlyde gennem generationer.
Den historiske betydning af Richardsons intellektuelle arbejde kan ikke overvurderes, da han i vid udstrækning tilskrives at have antændt den kunstneriske rejse for Sir Joshua Reynolds. Ved at etablere et teoretisk ordforråd for portrætkunsten – et der lagde vægt på "den store stil" og betydningen af karakter – lagde Richardson grundstenen til Royal Academy og formaliseringen af kunstuddannelsen i England. Hans indflydelse kan spores gennem flere centrale søjler i hans eftermæle:
I sidste ende forbliver Jonathan Richardson Den Ældre en monumental skikkelse, hvis indvirkning mærkes både i hans portræters tavse kraft og i hans ords vedvarende resonans. Han var en kunstner, der forstod, at det at male et ansigt var et forsøg på at indfange en sjæl, og at det at skrive om kunst var at definere den måde, en nation ser sig selv på. Hans liv står som et vidnesbyrd om kraften i at kombinere teknisk mesterskab med dyb filosofisk undersøgelse, hvilket sikrer hans plads i de store mestres panteon.
