Uuendatud november 2026 · järjestatud meie populaarsusindeksi järgi (otsingud, külastused ja tellimused igale teosele) · 48 teost Nathaniel Hone Vanem meie kataloogis
Lühidalt
Kõigist Nathaniel Hone Vanem jäetud originaalteostest on kõige kuulsam Portrait of a Gentleman (1769), mis kuulub Yale Center for British Art kogele linnas New Haven. Järgnevad sellest Portrait of a Lady (1750) ja Self-Portrait with an Easel (1747). Meie kataloogist löytyb 48 teost kunstnikult Nathaniel Hone Vanem; galeriist on säilitatud 34 maailmas kõige imetlustunud teost, millest iga on esitatud koos kuupäeva, museumi ja oma luguga.
The Portrait of a Gentleman is a work by Nathaniel Hone the Elder. Created about 1769, this piece captures a formal likeness of an aristocratic or upper-class young man. The subject faces the viewer with a quiet, composed presence, held within the confines of a small, precious scale.
This highly detailed portrait miniature, dating from 1750, presents a formal and elegant depiction of a young woman from the mid-18th century. Housed within the rectangular lid of a decorative, dark tortoiseshell box, the artwork features a central oval portrait framed by a thin gold rim. The subject is shown in a close-up, bust-length view, focusing entirely on her features and adornments.
In this intimate oil painting, Self-Portrait with an Easel, the artist Nathaniel Hone the Elder captures himself in a quiet moment of reflection. The work emerges from 1747, a time when the painter is establishing his presence through the medium of portraiture. He presents himself not merely as a subject, but as a practitioner of his craft, leaning into the tools of his trade.
This 1759 portrait miniature presents a young woman in profile, facing toward the right. The subject is rendered with pale skin and a soft pink flush on the cheek. Her blue eyes are directed forward, and her dark hair is pulled back away from her face. A blue kerchief, decorated with subtle gold patterns, is tied around her head. This headwrap matches a blue garment draped over her shoulders. A…
This 1763 miniature presents a head-and-shoulders view of a man, captured in a delicate, oval-shaped format. The subject faces the viewer's right, though his gaze is directed back toward the observer, creating an immediate psychological connection. A dark, neutral background provides a sharp contrast to the subject, pushing the figure forward through a careful application of light. This illumination, originating from the upper left, casts soft shadows across the face…
The portrait miniature titled Unknown woman (NMB 737) captures a young woman in a quiet, oval-shaped moment. Painted by Nathaniel Hone the Elder, the work presents the subject from the chest up. It is a small window into the mid-eighteenth century, dating to about 1759. The sitter gazes forward with a serene expression, her presence held within the delicate confines of the format.
The Portrait of a Man is a work by Nathaniel Hone the Elder, dated 1760. This portrait depicts a young man presented from the chest up. The subject is positioned with his torso facing forward, though his head is turned slightly toward the viewer's left.
The portrait depicts a young boy, John Camillus Hone, positioned in a bust-length composition against a dark, near-black background. He is captured in a moment of quiet concentration, his gaze directed toward the wooden flute held to his lips. The lighting originates from the upper left, casting a soft shadow across the right side of his face and highlighting the bridge of his nose and his hands. This directional light…
The oil painting titled Portrait of a Boy (Horace Hone), Sketching was created by the Irish-born artist Nathaniel Hone the Elder. This work, dating from about 1766, captures a young boy in a moment of quiet concentration. The subject is shown engaged in the act of sketching, his attention fixed upon his task.
Portrait of a Lady1770 · Rhode Island School of Design Museum of Art
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Portrait of a Lady1766 · Yale Center for British Art
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Self Portrait1768
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Self-Portrait1780 · National Gallery of Ireland
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Portrait of a Gentleman1784 · National Gallery of Ireland
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Frances Cole (née Wager)1776 · Yale Center for British Art
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Benjamin Cole1776 · Yale Center for British Art
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Portrait of a Woman (called 'Anne Craster, d.1832')1784 · Bodleian Libraries
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David Colyear (1736–1756), Viscount Milsington1755 · National Trust
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Sir John Durbin (1734–1814)1757 · National Trust
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Nathaniel Curzon (1726–1804), 1st Baron Scarsdale, and His Wife Lady Caroline Colyear (1733–1812), Lady Scarsdale, Walking in the Grounds at Kedleston1761 · National Trust
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Charles Lee Lewes (1740–1803)1767 · The Barber Institute of Fine Arts
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John Wesley1766 · National Portrait Gallery
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Bartholomew Ruspini (1728–1813), Chevalier, with Family1775 · The Royal College of Surgeons of Edinburgh
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General Lloyd1773 · Fitzwilliam College
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Sir John Fielding1773 · Ülemine Kohus
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Kitty Fisher (d.1767)1784
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Portrait of a Lady in a Blue Dress, possibly Mrs Mary Barnardiston1779
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The Honourable Mrs Nathaniel Curzon1778 · Fitzwilliam College
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Self-PortraitNational Gallery of Ireland
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Portrait of a Boy
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Portrait of a GentlemanTemple Newsam House
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Mary Savile (1700–1751), Countess of ThanetAbbot Hall Art Gallery
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The Conjuror1775 · National Gallery of Ireland
Neli teemat, mis esinevad neis originaalkindel kõige sagedamini, ning iga teema parim näide.
Kümne 8 muuseumi kollektsioonid, mis sisaldavad kõige rohkem sellel lehel esitatud teoseid.
| Muuseumid | Linn | Nathaniel Hone Vanem teosid | Selle nimekirja maalid |
|---|---|---|---|
 National Gallery of Ireland |
Dublin | 7 | Self-Portrait with an Easel, A Piping Boy: John Camillus Hone (1759-1836), the Artist's Son, Portrait of a Boy (Horace Hone), Sketching |
 Yale Center for British Art |
New Haven | 6 | Portrait of a Gentleman, Portrait of a Lady, Portrait of a Gentleman |
 Nationalmuseum |
Stockholm | 2 | Self-portrait, Unknown woman (NMB 737) |
 National Trust |
Derby | 2 | David Colyear (1736–1756), Viscount Milsington, Nathaniel Curzon (1726–1804), 1st Baron Scarsdale, and His Wife Lady Caroline Colyear (1733–1812), Lady Scarsdale, Walking in the Grounds at Kedleston |
 Fitzwilliam College |
Cambridge | 2 | General Lloyd, The Honourable Mrs Nathaniel Curzon |
 Musée Cognacq-Jay |
Pariis | 1 | Portrait of a Young Woman with a Blue Kerchief |
 Metropolitan Museum of Art |
New York | 1 | Portrait of a Man |
 Rhode Island School of Design Museum of Art |
Providence | 1 | Portrait of a Lady |
Vali vuosakülg, et näha selle ajastu definieerivat originaalteost.
In this intimate oil painting, Self-Portrait with an Easel, the artist Nathaniel Hone the Elder captures himself in a quiet moment of reflection. The work emerges from 1747, a time when the painter is establishing his presence through the medium of portraiture. He presents himself not merely as a subject, but as a practitioner of his craft, leaning into the tools of his trade.
This highly detailed portrait miniature, dating from 1750, presents a formal and elegant depiction of a young woman from the mid-18th century. Housed within the rectangular lid of a decorative, dark tortoiseshell box, the artwork features a central oval portrait framed by a thin gold rim. The subject is shown in a close-up, bust-length view, focusing entirely on her features and adornments.
The Portrait of a Gentleman is a work by Nathaniel Hone the Elder. Created about 1769, this piece captures a formal likeness of an aristocratic or upper-class young man. The subject faces the viewer with a quiet, composed presence, held within the confines of a small, precious scale.
The Portrait of a Lady by Nathaniel Hone the Elder brings a quiet presence into the room. Dating from about 1750, this work captures a female figure dressed in the elegant attire of the 18th century. She exists within a delicate, intimate scale, characteristic of the portrait miniature style from the Early Modern period. There is a sense of stillness in her gaze, as if she has just paused mid-motion…
A middle-aged man sits in a three-quarter length pose, his gaze fixed directly upon the viewer. He is positioned slightly to the left of the center, a figure of quiet composure against a receding landscape. He wears a brown coat over a yellow waistcoat, the fabric rendered with smooth, deliberate brushwork. A white cravat catches the light, bright against the warmer tones of his attire. To his left, the head…
Portrait of a Gentleman (1769), Yale Center for British Art, New Haven. Järgnevad Portrait of a Lady (1750) ja Self-Portrait with an Easel (1747).
51 aastat vanus: teos Portrait of a Gentleman on pärinev aastast 1769 ning Nathaniel Hone Vanem sündis aastal 1718.
Portrait of a Gentleman, Portrait of a Lady, Self-Portrait with an Easel, Portrait of a Young Woman with a Blue Kerchief, Self-portrait, Unknown woman (NMB 737), Portrait of a Man, Portrait of a Gentleman, A Piping Boy: John Camillus Hone (1759-1836), the Artist's Son ja Portrait of a Boy (Horace Hone), Sketching. Ülemine reiting näitab iga teose puhul aastat ja muuseumi.
Meie kataloogist leiate 48 teost kunstnikult Nathaniel Hone Vanem, mis on pärinevad ajastust 1747 kuni 1784.
Peamiselt National Gallery of Ireland (Dublin), Yale Center for British Art (New Haven) ja Nationalmuseum (Stockholm) muuseumites. Ülalpool olevate muuseumite tabelis on nendest kõik loetletud.
Ajal 1760s: 11 34 sellel lehel olevat teost on sellel perioodil loodud, მათart közül Portrait of a Gentleman.
Sellel lehel on kõige vanem teos Self-Portrait with an Easel (1747) ja kõige värskeim Portrait of a Gentleman (1784).
Man (9), Woman (7) ja Dark background (7), kogu selle lehekülje 34 teose kohta.
Watercolor, 7 teoseks 34 töödelt sellel lehel.
Neoclassicism ja Rococo, seda lähtudes selle lehe originaalteostest.
Self-Portrait with an Easel, A Piping Boy: John Camillus Hone (1759-1836), the Artist's Son ja Portrait of a Boy (Horace Hone), Sketching: National Gallery of Ireland, Dublin säilitab 7 selle lehel olevat teost.
Umbes aastal 1718 Dublis sündinud Nathaniel Hone I on keskmises mõttes murdumav figuur rokoo ja uusklassikülise kunstiliikumiste vahelises üleminekus. Tema kunstiline teekond ulatus üle Iirimaa ja Londri, jättes endast jälgeks erakordselt detailset portreid ning maastikke, mis on täidetud selge Barbisoni vaimuga. See stiililine kooskirjastus kinnitas tema kohta laiemas অষ্টsandaadsaegse Euroopa maali kunstis.
Honei vormingasaedad trujisid Dublis, kus ta sai õpetuseks Francis Baconilt ja Jonathan Richardson Sr-ilt – kahest prominentne Irendi portretist, kes õpetasid eeskätt dramaatilist ja teatraalist stiili, mis oli juurdunud iluusionismis. See mõju kujundas sügavalt Hone'i lähenemist inimfiguuride kirjeldamisel, eriti tema ajastu aristokraatlikul kliendil, rõhutades ekspressiivseid žeste ja psühholoogilist sügavust.
Tema kunstiline areng jõudis uue taseme, kui ta suunas oma tegevuse Pariisi, sukeldudes Valgustusajastu vibratilasse intellektuaalsete ja kunstiliste vooludesse. Pariisis õppis ta Jean-Simon Bailly ja Jacques-Louis Davidi juures, omades uusklassikalise ideaalismie printsiipideid ja täiendades oma tehnilisi oskusi. See Pariisi periood (1740–1768) laiendas vaieldamatult tema stiililisi horisontsone.
Pärast naasmist Londoni 1768. aastal jätkas Hone portreede maaljamist, kuid samal ajal arendas ta välja eripärase maastikustatud stiili, mis oli reaktsioon valitsevale akadeemilisele traditsioonile. Nimedes inspiratsiooni Claude Lorrainilt ja Gaspard Roubaix'lt, omastas ta Barbisoni tehnikat, eelistades atmosfäärilist perspektiivi ja toonide vahelist üleminekut, et edastada Iirimaa maastiku suurevilisust.
Nathaniel Hone Vanem suri Londonis aastal 1784, jättes endast maha ulatusliku kunstivaramu, mida püsib tänapäevani austatud oma kunstilise väärtuse ja tehnilise virtuoosluse tõttu. Tema maastikud — eriti „The Honourable Mrs Curzon” — on säilitanud oma tähtsuse kui XVIII-saja kunstiteosed, mis on väärtuslikud näited tema püsivast panalus oma ajastu stiililisasse arengusse.
