Ažurirano Studeni 2026 · rangirano prema našoj ocjeni popularnosti (pretraživanja, posjeti i narudžbe za svako djelo) · 89 djela Jonathan Richardson Stariji u našem katalogu
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Od svih originala koje je Jonathan Richardson Stariji ostavio, najpoznatiji je Garton Orme at the Spinet (1707) u kolekciji muzeja The Holburne Museum, Bath. Samo iza njih slijede William Cheselden (1688–1752) (1730) i 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). Naš katalog sadrži 89 djela umjetnika Jonathan Richardson Stariji; galerija je čuvala onih 88 koja svijet najviše divi, a svako je prikazano s datumom nastanka, muzejom i pričanom.
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 · Skotska nacionalna galerija portreta
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
Četiri teme koje se najčešće ponavljaju u ovim originalima, svaka s svojim vrhunskim primjerom.
#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)
8 muzeja u kojima se nalazi najviše djela s ove stranice.
| Muzej | Grad | Djela autora Jonathan Richardson Stariji | Slike iz ovog popisa |
|---|---|---|---|
 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) |
Odaberite desetljeće kako biste vidjeli original koji ga definira.
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. Nakon njih slijede William Cheselden (1688–1752) (1730) i 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 godina: Garton Orme at the Spinet datira iz 1707, a Jonathan Richardson Stariji je rođen/a 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) i Henry St John, 1st Viscount Bolingbroke. Gornji rang prikazuje godinu i muzej za svako od njih.
Naš katalog sadrži 89 djela umjetnika Jonathan Richardson Stariji, datiranih od 1693 do 1745.
Većinom u National Portrait Gallery (London), National Maritime Museum (London) i National Trust (Derby). Gornja tablica muzeja navodi sve njih.
U 1730s: 14 od 88 djela na ovoj stranici nastalo je tada, od čega je William Cheselden (1688–1752) William Cheselden (1688–1752).
Na ovoj stranici najstarije djelo je iz Lord Matthew Aylmer (c.1655–1720) (1693), a najnovije iz Sir James Burrow (1701–1782), Editor of Law Reports (1745).
18th century (13), Portraiture (12) i Portrait (7), kroz svih 88 djela na ovoj stranici.
Oil On Canvas, za 11 od 88 djela na ovoj stranici.
Neoclassicism i Baroque, sudeći po originalima na ovoj stranici.
Sir Richard Steele, Henry St John, 1st Viscount Bolingbroke i Sir William Wyndham, 3rd Bt: National Portrait Gallery, London posjeduje 8 djela s ove stranice.
U veličanstvenom tapisu britanske umjetnosti osamnaestog stoljeća, malo je niti toliko intelektualno duboko ili vizualno postojano kao one koje je utkao Jonathan Richardson Stariji. Rođen u londonskoj župregiji St. Botolph 12. siječnja 1667., Richardsonovo putovanje oblikovale su i osobna nedaća i iznimna intelektualna znatiželja. Nakon prerane smrti njegovog oca, Williama Richardsona, mladi umjetnik našao se pod vodstvom očuha, no upravo je kroz formalno šegrtovanje kao pisar počeo oštriti preciznost koja će kasnije definirati njegov potez četkicom. Njegova prava metamorfoza dogodila se kada je ušao u krugove Johna Rileyja, uvaženog suvremenika čiji je atelier služio kao tanoči za razvojni talent Richardsona. Ovo razdoblje obuke učilo ga je ne samo mehanici boje, već ga je uradilo u svijet u kojem portret nije bio samo zapis sličnosti, već duboko istraživanje karaktera i društvenog statusa.
Kako je njegova karijera cvjetala, Richardson se pojavio kao slikar iznimnog značaja, izdvajajući se u niši koja je balansirala između formalnih zahtjeva aristokratskog pokroviteljstva i duboko osobne, psihološke dubine. Njegova djela često su izbjegavala naduvise raskošne i teatralne detalje uobičajene u nekim baroknim krugovima, birajući umjesto toga suzdrženu eleganciju i majstorstvo u suptilnim tonalnim gradacijama. Pod utjecajem dramatičnog chiaroscuroa Rembrandta i pedantnog promatranja koje se nalazilo u djelima kasnijih majstora poput Wrighta iz Derbyja, Richardson je posjedovao jedinstvenu sposobnost hvatanja tihe dostojanstvenosti svojih subjekata. Bilo da je prikazivao intelektualnu težinu Richarda Halea ili spokojnu, naučnu atmosferu koja je okruživala Matthewa Priora, njegova platna služila su kao prozori u duh prosvjetiteljstva, dajući prednost preciznosti i evokativnom osjećaju prisutnosti nad puku ukrasnost.
Iako su njegovi portreti ostali cijenjeni zbog svoje estetske gracioznosti, najtrajniji doprinos Richardsona svijetu umjetnosti leži u njegovoj ulozi pionira umjetničke teorije. Bio je mnogo više od praktičara zanata; bio je njegov najizražajniji filozof. Kroz svoje seminalno djelo, An Essay on Painting, objavljeno 1715. godine, Richardson je pružio temeljni okvir za englesku umjetnost koji je nastojao uzdići status slikara iz običnih zanatlija u poštovane intelektualce. Ovaj traktat nije raspravljao samo o tehnici; istraživao je samu prirodu ljepote, važnost izuma i moralnu težinu umjetničke vizije. Njegovi spisi djelovali su kao most između tradicija starih majstora i rastućeg nacionalnog identiteta britanske umjetnosti, stvarajući diskurs koji će odjekivati generacijama.
Povijesni značaj Richardsonovog intelektualnog rada ne može se pretjerati, jer se široko smatra da je on pokrenuo umjetnički put koji je vodio Sir Joshua Reynolds. Usprušavanjem teorijskog rječnika za portretstvo — onog koji je naglašavao "veliki stil" i važnost karaktera — Richardson je postavio temelje za Kraljevsku akademiju i formalizaciju umjetničkog obrazovanja u Engleskoj. Njegov utjecaj može se pratiti kroz nekoliko ključnih stupova njegovog naslijeđa:
Naposljetku, Jonathan Richardson Stariji ostaje monumentalna figura čiji se utjecaj osjeća i u tihoj snazi njegovih portreta i u trajnom odjeku njegovih riječi. Bio je umjetnik koji je razumio da je slikati lice pokušaj hvatanja duše, a pisati o umjetnosti definiranje načina na koji nacija vidi samu sebe. Njegov život stoji kao svjedočanstvo moći spajanja tehničkog majstorstva s dubokim filozofskim istraživanjem, osiguravajući mu mjesto u panteonu velikih majstora.
