Päivitetty marraskuu 2026 · järjestetty suosituimmuuspisteiden mukaan (jokaisen teoksen haut, vierailut ja tilaukset) · 89 teosta taiteilijalta Jonathan Richardson Vanhempi luettelossamme
Lyhyesti
Kaikista Jonathan Richardson Vanhempi jättämistä alkuperäisteoksista kuuluisin on Garton Orme at the Spinet (1707), joka kuuluu The Holburne Museum -kokoelmaan, Bath. Heti perässä tulevat William Cheselden (1688–1752) (1730) ja 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). Katalogissamme on 89 teosta taiteilijalta Jonathan Richardson Vanhempi; galleria on säilyttänyt 88 maailman ihailluimmista teoksista, ja jokaisesta on esitetty sen päivämäärä, museo sekä tarina.
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, Cambridge
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) – George Oxendenin kuvaus (1651–1703), LLD, Master (1685–1703), MP Cambridgen yliopistossa (1695–1698) Jonathan Richardsonin nuoremman maalauksesta Trinity HallisTrinity Hall
Nämä neljä aihetta toistuvat näissä alkuperäisteoksissa useimmin, jokaisesta löytyy hienoin esimerkki.
#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)
Tämän sivun teoksista eniten sisältävät 8 museota.
| Museo | Kaupunki | Jonathan Richardson Vanhempi teokset | Tämän listan maalaukset |
|---|---|---|---|
 National Portrait Gallery |
Lontoo | 8 | Sir Richard Steele, Henry St John, 1st Viscount Bolingbroke, Sir William Wyndham, 3rd Bt |
 National Maritime Museum |
Lontoo | 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 |
Lontoo | 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) |
Valitse vuosikymmen nähdäksesi sen määrittäneen alkuperäisteoksen.
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. Seuraavina ovat William Cheselden (1688–1752) (1730) ja 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 vuotta vanha: Garton Orme at the Spinet on peräisin vuodelta 1707, ja Jonathan Richardson Vanhempi on syntynyt vuonna 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) ja Henry St John, 1st Viscount Bolingbroke. Yllä oleva sijoitus kertoo kunkin teoksen vuosiluvun ja museon.
Katalogissamme on 89 teosta taiteilijalta Jonathan Richardson Vanhempi, aikaväliltä 1693–1745.
Pääasiassa National Portrait Gallery (Lontoo), National Maritime Museum (Lontoo) ja National Trust (Derby). Yllä oleva museotaulukko listaa ne kaikki.
Aikakaudella 1730s: 14 sivun 88 teoksista on tehty silloin, joista William Cheselden (1688–1752).
Tällä sivulla vanhin on Lord Matthew Aylmer (c.1655–1720) (1693) ja uusin Sir James Burrow (1701–1782), Editor of Law Reports (1745).
18th century (13), Portraiture (12) ja Portrait (7), yhteensä 88 teosta tällä sivulla.
Oil On Canvas, 11 teoksesta sivun 88 teoksesta.
Neoclassicism ja Baroque, tämän sivun alkuperäisteosten perusteella.
Sir Richard Steele, Henry St John, 1st Viscount Bolingbroke ja Sir William Wyndham, 3rd Bt: National Portrait Gallery, Lontoo -ssä on 8 tämän sivun teoksista.
Kahdeksanteisen vuosisadan brittiläisen taiteen suuressa kudelmassa harva lanka on yhtä älyllisesti syvällinen tai visuaalisesti kestävä kuin ne, jotka on kutonut Jonathan Richardson Vanhempi. Lontoossa, St. Botolphin seurakunnassa 12. tammikuuta 1667 syntyneen Richardsonin elämäntie oli sekä henkilökohtaisten koettelemusten että poikkeuksellisen älyllisen uteliaisuuden muovaama. Isä William Richardsonin ennenaikaisen kuoleman jälkeen nuori taiteilija joutui kasvattajan huomaan, mutta juuri virkamiesopiskelijana aloitetun oppisopimuksen kautta hän alkoi hioa sitä tarkkuutta, joka myöhemmin määritteli hänen siveltimenjälkensä. Hänen todellinen metamorfoosinsa tapahtui, kun hän siirtyi John Rileyden vaikutuspiiriin, arvostetun aikalaistensa studion toimi Richardsonin kasvavan lahjakkuuden sulatettimena. Tämä koulutusjakso opetti hänelle muutakin kuin maalaamisen mekaniikan; se upotti hänet maailmaan, jossa muotokuva ei ollut vain ulkonäön tallentamista, vaan syvällistä luonteen ja yhteiskunnallisen aseman tutkimista.
Uran kukoistaessa Richardson nousi merkittäväksi taiteilijaksi, joka löysi oman tyylinsä tasapainoillen aristokraattisen suojeluksen muodollisia vaatimuksia ja syvän henkilökohtaista, psykologista syvyyttä. Hänen teoksistaan puuttuivat usein tietyissä barokin piireissä vallinneet prameilevat ja teatraaliset yksityiskohdat; sen sijaan hän valitsi hillityn eleganssin ja taitavan, hienovaraisten sävyvaihteluiden hallinnan. Rembrandtin dramaattisen chiaroscuro-tekniikan ja myöhempien mestareiden, kuten Wright of Derbyn, tarkkanäköisen havainnoinnin vaikutuksesta Richardsonilla oli ainutlaatuinen kyky vangita kohteidensa hiljainen arvokkuus. Olipa kyseessä Richard Halen älyllinen painoarvo tai Matthew Priorin ympärillä vallitseva seesteinen, oppineisuushenkinen ilmapiiri, hänen kankaansa toimivat ikkunoina valistusajan henkeen, asettaen tarkkuuden ja elävän läsnäolon pelkän koristelun edelle.
Vaikka hänen muotokuvansa ovat edelleen arvostettuja esteettisen kauneutensa vuoksi, Richardsonin kestävin panos taidemaailmaan on hänen roolinsa taideteorian uranuurtajana. Hän oli paljon enemmän kuin pelkkä käsityöläinen; hän oli taiteen selkeäpiatoisin filosofi. Läpimurto-teoksensa An Essay on Painting kautta, joka julkaistiin vuonna 1715, Richardson tarjosi englantilaiselle taiteelle perustan, joka pyrki nostamaan maalareiden aseman pelkistä käsityöläisistä arvostetuiksi intellektuelleiksi. Tämä tutkielma ei käsitellyt ainoastaan tekniikkaa, vaan se tutki kauneuden olemusta, keksinnön merkitystä ja taiteilijan vision moraalista painoarvoa. Hänen kirjoituksensa toimivat siltana vanhojen mestareiden perinteiden ja kasvavan brittiläisen taiteen kansallisen identiteetin välillä, luoden keskustelun, joka resonoi sukupolvien ajan.
Richardsonin älyllisen työn historiallista merkitystä ei voida korostaa liikaa, sillä häntä pidetään laajasti Sir Joshua Reynoldsin taiteellisen matkan käynnistäjänä. Luomalla teoreettisen sanaston muotokuvataiteelle – korostaen "suurta tyyliä" (grand style) ja luonteen merkitystä – Richardson loi pohjan Royal Academyn perustamiselle ja taidekasvatuksen formalisoinnille Englannissa. Hänen vaikutuksensa näkyy useissa hänen perintönsä keskeisissä pilareissa:
Lopulta Jonathan Richardson Vanhempi säilyy monumentaalisena hahmona, jonka vaikutus tuntuu sekä hänen muotokuvien hiljaisessa voimassa että hänen sanojensa kestävässä kaiussa. Hän oli taiteilija, joka ymmärsi, että kasvot maalaaminen oli yritys vangita sielu, ja taiteesta kirjoittaminen oli tapa määritellä se, miten kansakunta näkee itsensä. Hänen elämänsä on todistus teknisen mestaruuden ja syvällisen filosofisen pohdiskelun yhdistämisen voimasta, mikä on varmistanut hänen paikkansa suurten mestareiden joukossa.
