Opdateret november 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 88 værker af Francis Hayman i vores katalog
Kort sagt
Maurice Greene; John Hoadly (1747) er det maleri af Francis Hayman, der vækker mest opsigt; originalen findes på National Portrait Gallery, London. Derefter falder blikket på Robert Clive and Mir Jafar after the Battle of Plassey, 1757 (1760) og Portrait of John Percival, later 2nd Earl of Egmont (1711-1770) (1740). Blandt de 88 værker af Francis Hayman i vores katalog er disse 81 de mest berømte, hver især et unikt originalværk præsenteret med sit årstal, sit museum og årsagen til dets tidløse betydning.
A single shaft of light descends from the upper left, cutting through the dimness of a wood-paneled room. It finds the pale skin of a man seated at a table, his hand poised near an open musical score. This is the quiet gravity of creation. The light catches the crisp white of a linen cuff and the soft, powdered texture of a wig, leaving the rest of the chamber in…
We are looking at Robert Clive and Mir Jafar after the Battle of Plassey, 1757, a significant work by the British artist Francis Hayman. Painted about 1760, this oil on canvas captures a pivotal moment in history through a highly structured lens. The full title of the piece is Robert Clive, Mir Muhammad Dja'far Khan and his son Mir Miran (Sadiq Ali Khan Bahadur), with a number of British and…
The air in the room seems to settle around the figure of John Percival, the man who will become the 2nd Earl of Egmont. He sits in a three-quarter length pose, his body angled slightly away while his gaze meets the viewer with a steady, composed directness. There is a quiet weight to his presence, anchored by the deep, dark tones of his velvet coat. The fabric catches the light…
The composition presents a group of men gathered within a formal 18th-century interior. The scene is arranged around a central table, where several figures are seated or standing in a state of social leisure. To the far left, a figure sits on the floor, engaged in the act of sketching in a book, appearing to be the artist himself. The men are dressed in period attire, including powdered wigs, waistcoats,…
In "David Garrick and Hannah Pritchard (née Vaughan) in Benjamin Hoadly's "The Suspicious Husband"" by Francis Hayman, the stage comes alive through the likenesses of two of the most celebrated performers of the eighteenth century. Painted about 1747, the work captures a specific theatrical moment where the boundaries between life and performance blur. Francis Hayman portrays Hannah Pritchard in the role of Clarinda, her presence commanding the space with the…
Two men sit anchored in a room of wood and shadow. Thomas Nuthall and Hambleton Custance occupy a space defined by the weight of their presence and the stillness of the air. They are seated upon a bench, their bodies turned toward one another in a moment of shared repose. Between them, a dog rests, a living anchor in the center of the composition. The light enters from the side,…
The scene unfolds within a crowded, dimly lit interior, capturing a boisterous moment from Shakespeare's Henry IV, Part II. At the center of the composition, the corpulent Falstaff sits amidst a group of companions, his presence commanding the space through sheer physical volume. The arrangement of figures is dynamic, utilizing a theatrical composition that directs the eye from the upright posture of a man on the far left toward the…
In this 1748 portrait, the sitter is captured in a moment of quiet introspection. Draped in a luminous yellow gown accented by soft pink flourishes, she rests her chin upon her hand, her gaze directed toward an unseen point of thought. The composition places her within a lush, verdant setting, where the organic forms of the garden meet the rigid, stone silhouettes of classical statues. This interplay between the ephemeral…
In this portrait from 1750, we find ourselves invited into a private, tranquil moment shared by George Rogers and his wife, Margaret. They are seated together on a bench, positioned beneath the soft canopy of a blossoming tree. The scene is one of stillness, capturing a sense of familial harmony that was a central preoccupation of the mid-18th century. Margaret is draped in a serene blue gown, a color that…
White marble catches a soft, diffuse light, carving a moment of ancient piety out of the stillness. Four men, draped in the heavy folds of togas, lean forward with a shared purpose. They offer their tribute to a central female figure, a goddess of the hunt who receives their gesture with a quiet, steady grace. The scene is a relief, a shallow stage where the weight of the stone mimics…
David Garrick as Gloucester in 'Richard III' by William Shakespeare, Drury Lane 17591760 · The Holburne Museum
12
Le Moine lubrique Le Moine entreprenant (ancien titre)Musée National Magnin
13
The Storm Scene in1760 · Oklahoma City Museum of Art
14
George Rogers and His Wife Margaret and His Sister Margaret Rogers1750 · Yale Center for British Art
15
Tristan and Isolde in Cornwall1965 · Arts Council Collection
16
Portrait of David Garrick (left) and William Windham of Felbrigg (right)1717
17
See Saw1742
18
Peter Scheemakers (1691–1781)1739
19
The Humerous Diversion of Sliding on the Ice1742
20
The Elopement Pamela Flying to the Coach, While Lady Danvers Sends Two of Her Footmen to Stop Her (from Samuel Richardson's 'Pamela', 1740) (a Vauxhall supper box picture)1741 · Sizergh Castle
21
Portrait of a Lady (probably the artist's wife)1734 · Royal Albert Memorial Museum
22
Self Portrait of the Artist in His Studio1734 · Royal Albert Memorial Museum
23
New River at Islington with a Family Going Awalking, a Cow Milking, and the Horns Archly Fixed over the Husband's Head (decorative painting for a supper box at Vauxhall Gardens, London)1742
24
Jonathan Tyers and His Daughter Elizabeth and Her Husband John Wood1752 · Yale Center for British Art
25
Playing at Quadrille1750 · Birmingham Museum and Art Gallery
26
Portrait of the Artist at His Easel1750 · Royal Albert Memorial Museum
27
'Robert Lovelace Preparing to Abduct.'1753
28
The Finding of Infant Moses in the Bullrushes1746
29
View of Copped Hall in Essex, from the Park1746
30
The Muses Paying Homage to Frederick, Prince of Wales and Princess Augusta (The Artists Presenting a Plan for an Academy to Frederick, Prince of Wales and Princess Augusta)1751 · Royal Albert Memorial Museum
31
John, Lord Mountstuart, in Masquerade1764
32
Sir John Falstaff Raising Recruits1765 · Birmingham Museum and Art Gallery
33
The Sculptor Joseph Wilton (1722–1803), with His Wife and Daughter1760
34
The Masters Martin Atkin1742 · Fitzwilliam-museet
35
Don Quixote Knighted by the Innkeeper1755 · Royal Albert Memorial Museum
36
The Good Samaritan1752 · Yale Center for British Art
37
The Druids, Or The Conversion Of The Britons To Christianity; Engraved By Simon Francois Ravenet, Pr
38
Peg Woffington as Rosalind with Celia and Touchstone in the Forest of Arden, Act II scene 4 of `As y
39
Captain sir edward vernonNational Maritime Museum
40
Figures Crowning a Statue of HerculesBlickling Hall
41
John Wrightwick Of Tettenhall, Staffsjohn Wrightwick Of Tettenhall, Staffs
42
The wapping landlady
43
Dr Charles Chauncey, MD1747 · Yale Center for British Art
44
Jonathan Tyers and His Family1740 · National Portrait Gallery
45
Mercury Delivering a Message to Jupiter and Juno, with Neptune in Attendance (from an antique relief in the Museo Angelonio)National Trust
46
Samuel Richardson, the Novelist (1684-1761), Seated, Surrounded by his Second FamilyTate Britain
47
A Hound, a Spaniel and a Pug (A Portrait of a Mastiff)
48
The Masters Martin Atkins
49
The Wrestling Scene from 'As You Like It'
50
Portrait Of A Gentleman And His Wife
51
Mayday (The Milkmaids' Garland)
52
Portrait Of The Artist At His Easel
53
George danceFitzwilliam Museum
54
View of Copped Hall in Essex, from across the Lake
55
Bird-Catching by a Decoy with a Whistle and a Net
56
Girl at a Spinning Wheel
57
Jonathan Tyers and his family
58
Grosvenor Bedford and His Family
59
Country Dances round a Maypole
60
John conyers
61
Bird nesting
62
William Ellis ), and His Daughter Elizabeth
63
An Episode from 'The Mock Doctor' or 'Dumb Lady Cured'Sizergh Castle
64
Unknown woman, formerly known as Peg WoffingtonNational Portrait Gallery
65
Grosvenor bedfordNational Portrait Gallery
66
Self Portrait of the Artist in His Studio
67
The Finding of the Infant Moses in the Bullrushes
68
Don Quixote’s Battle with the Wine Skins
69
Don Quixote Attacking the Barber to Capture the Basin
70
The sight
71
John Wightwick of Tettenhall, Staffordshire
72
A Gentleman with Horse and Groom
73
Pastoral SceneGovernment Art Collection
74
Two East Anglian Gentlemen with a PointerUpton House
75
David Garrick , and Hannah Pritchard , in a Scene from 'The Suspicious Husband'
76
Benjamin Hoadly and His Wife
77
Don Quixote Disputing with the Mad Cardenio
78
Maurice greene; john hoadly
79
The Barber Reclaiming His Basin from Don Quixote
80
Sacrifice to Apollo (from the Arch of Constantine)National Trust
81
The Emperor Trajan Sacrificing to Mars Victorious (from the Arch of Constantine)National Trust
De fire motiver, der optræder hyppigst i disse originaler, hver med sit fineste eksempel.
#12 Le Moine lubrique Le Moine entreprenant (ancien titre)
#20 The Elopement Pamela Flying to the Coach, While Lady Danvers Sends Two of Her Footmen to Stop Her (from Samuel Richardson's 'Pamela', 1740) (a Vauxhall supper box picture)
#23 New River at Islington with a Family Going Awalking, a Cow Milking, and the Horns Archly Fixed over the Husband's Head (decorative painting for a supper box at Vauxhall Gardens, London)
#27 'Robert Lovelace Preparing to Abduct.'
De 8 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Francis Hayman | Malerier fra denne liste |
|---|---|---|---|
 Yale Center for British Art |
New Haven | 8 | Portrait of a Group of Gentleman, with the Artist, David Garrick and Hannah Pritchard (née Vaughan) in Benjamin Hoadly's "The Suspicious Husband", Mrs Mary Chauncey |
 National Portrait Gallery |
London | 5 | Maurice Greene; John Hoadly, Robert Clive and Mir Jafar after the Battle of Plassey, 1757, Jonathan Tyers and His Family |
 Royal Albert Memorial Museum |
Exeter | 5 | Portrait of a Lady (probably the artist's wife), Self Portrait of the Artist in His Studio, Portrait of the Artist at His Easel |
 National Trust |
Norwich | 4 | The Emperor Constantine Sacrificing to Diana (from the Arch of Constantine), Mercury Delivering a Message to Jupiter and Juno, with Neptune in Attendance (from an antique relief in the Museo Angelonio), Sacrifice to Apollo (from the Arch of Constantine) |
 National Gallery of Ireland |
Dublin | 2 | Portrait of John Percival, later 2nd Earl of Egmont (1711-1770), Falstaff Recruits from Shakespeare's 'Henry IV', Part II, Act III |
 Sizergh Castle |
Kendal | 2 | The Elopement Pamela Flying to the Coach, While Lady Danvers Sends Two of Her Footmen to Stop Her (from Samuel Richardson's 'Pamela', 1740) (a Vauxhall supper box picture), An Episode from 'The Mock Doctor' or 'Dumb Lady Cured' |
 Birmingham Museum and Art Gallery |
Birmingham | 2 | Playing at Quadrille, Sir John Falstaff Raising Recruits |
 The Holburne Museum |
Bath | 1 | David Garrick as Gloucester in 'Richard III' by William Shakespeare, Drury Lane 1759 |
Vælg et årti for at se det originale værk, der definerer det.
In this 1717 portrait, we find ourselves observing a moment of repose between two men seated upon a bench. The composition is intimate, drawing the viewer into a private conversation held amidst a backdrop of soft, natural greenery. On the left, a man sits with a hat and a sword at his side, his posture suggesting a certain worldly readiness. Beside him, his companion wears a wig, a marker of…
Francis Hayman captures Peter Scheemakers in a moment of quiet professional reflection. The subject is positioned amidst the tools and results of a life spent in stone. To his right, a statue of himself stands as a silent witness, creating a dialogue between the living man and the permanent likeness he has crafted. The composition is dense with the artifacts of an accomplished career, from delicate vases to the precise…
A single shaft of light descends from the upper left, cutting through the dimness of a wood-paneled room. It finds the pale skin of a man seated at a table, his hand poised near an open musical score. This is the quiet gravity of creation. The light catches the crisp white of a linen cuff and the soft, powdered texture of a wig, leaving the rest of the chamber in…
In this portrait from 1750, we find ourselves invited into a private, tranquil moment shared by George Rogers and his wife, Margaret. They are seated together on a bench, positioned beneath the soft canopy of a blossoming tree. The scene is one of stillness, capturing a sense of familial harmony that was a central preoccupation of the mid-18th century. Margaret is draped in a serene blue gown, a color that…
We are looking at Robert Clive and Mir Jafar after the Battle of Plassey, 1757, a significant work by the British artist Francis Hayman. Painted about 1760, this oil on canvas captures a pivotal moment in history through a highly structured lens. The full title of the piece is Robert Clive, Mir Muhammad Dja'far Khan and his son Mir Miran (Sadiq Ali Khan Bahadur), with a number of British and…
Maurice Greene; John Hoadly (1747), National Portrait Gallery, London. Derefter følger Robert Clive and Mir Jafar after the Battle of Plassey, 1757 (1760) og Portrait of John Percival, later 2nd Earl of Egmont (1711-1770) (1740).
39 år gammel: Maurice Greene; John Hoadly er fra 1747, og Francis Hayman blev født i 1708.
Maurice Greene; John Hoadly, Robert Clive and Mir Jafar after the Battle of Plassey, 1757, Portrait of John Percival, later 2nd Earl of Egmont (1711-1770), Portrait of a Group of Gentleman, with the Artist, David Garrick and Hannah Pritchard (née Vaughan) in Benjamin Hoadly's "The Suspicious Husband", Thomas Nuthall and his Friend Hambleton Custance, Falstaff Recruits from Shakespeare's 'Henry IV', Part II, Act III, Mrs Mary Chauncey, George and Margaret Rogers og The Emperor Constantine Sacrificing to Diana (from the Arch of Constantine). Ranglisten ovenfor viser det enkelte værks årstal og museum.
Vores katalog indeholder 88 værker af Francis Hayman, dateret fra 1717 til 1765.
Primært i Yale Center for British Art (New Haven), National Portrait Gallery (London) og Royal Albert Memorial Museum (Exeter). Museumslisten ovenfor viser dem alle.
I 1740s: 15 af de 81 værker på denne side blev skabt dengang, herunder Maurice Greene; John Hoadly.
På denne side er det tidligste Portrait of David Garrick (left) and William Windham of Felbrigg (right) (1717) og det seneste Falstaff Recruits from Shakespeare's 'Henry IV', Part II, Act III (1765).
Man (14), 18th century (13) og People (10), fordelt på de 81 værker på denne side.
Oil, for 21 af de 81 værker på denne side.
Rococo og Rococo portraiture, baseret på originalerne på denne side.
Portrait of a Group of Gentleman, with the Artist, David Garrick and Hannah Pritchard (née Vaughan) in Benjamin Hoadly's "The Suspicious Husband" og Mrs Mary Chauncey: Yale Center for British Art, New Haven har 8 af værkerne på denne side.
I det levende og skiftende landskab i det attende århundredes britiske kunst, besad få skikkelser den alsidige genialitet, som Francis Hayman udviste. Hayman, der blev født i Exeter i 1708, var ikke blot en iagttager af sin tids kulturelle udvikling; han formede aktivt dens visuelle sprog. Hans rejse begyndte langt fra Londons raffinerede gallerier, rodfæstet i den flygtige og intense verden af teaterscenografi. Denne tidlige fordybelse i de dramatiske kunstarter gav ham en unik fordel og indprentede ham en dyb forståelse for komposition, lys og narrativ spænding, som senere skulle definere hans mesterskab inden for rokoko-stilen. Da han overgik fra at være scenemaler til en uafhængig kunstner i St Martin's Lane, medbragte Hayman en historiefortællers sjæl, der var i stand til at transformere et statisk lærred til et vindue mod et teatralsk øjeblik.
Den æstetiske essens i Haymans værk er dybt sammenvævet med rokokoen, en epoke karakteriseret ved ynde, ornamentik og en vis letbenet elegance. Inspireret af de overdådige franske mestre som François Boucher, omfavnede Hayman en palet af delikate pastelfarver og flydende, rytmiske penselstrøg. Dog var hans arbejde aldrig rent dekorativt; det besad en strukturel integritet formet af klassiske idealer. Gennem sin forbindelse til Londons spirende intellektuelle kredse integrerede han en følelse af proportion og form, der gjorde det mulksom hans portrætter at transcendere blot lighed og i stedet indfange selve essensen af karakter og social status.
Haymans historiske betydning er forankret i hans fundamentale rolle ved etableringen af Royal Academy. Som et af de grundlæggende medlemmer og institutionens første bibliotekar var han med til at lægge grundstenen for professionelle kunstneriske standarder i Storbritannien. Denne indflydelsesrige position gjorde det muligt for ham at bygge bro mellem massernes populære, ofte larmende underholdning og den akademiske elites ophøjede bestræbelser. Hans evne til at navigere i disse forskellige verdener ses måske bedst i hans mangfoldige produktion, der spænder fra det monumentale til det intime.
Hans kunstneriske repertoire var bemærkelsesværdigt omfattende og udviste et talent, der med ubesværet lethed kunne skifte mellem genrer:
I sidste ende var Francis Haymans liv et vidnesbyrd om den visuelle historiefortællings kraft. Ved at forene scenens teatralske kvaliteter med rokokoens raffinerede elegance skabte han en samling værker, der forbliver et vitalt vindue ind i oplysningstiden. Hans arv lever ikke kun videre i de lærreder, der bærer hans navn, men i selve strukturen af den britiske kunsthistorie, hvilket markerer ham som en sand pioner, der var med til at hæve malerens status fra håndværker til akademisk mester.
