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Iz perspektive galerije, najpoznatije djelo umjetnika George Romney je Lady Hamilton as Circe (1782), čiji se original nalazi u muzeju Tate Gallery, London. Portrait of Emma Hart [later Lady Hamilton] as Miranda (1785) i Portrait of John Wesley (1789) upotpunjuju triju koju svako oko prepoznaje. Od 1,201 djela umjetnika George Romney u našem katalogu, galerija u nastavku prikazuje 100 najpoznatijih, od kojih je svako originalno, s navedenom godinom nastanka, muzejom i onim što ga čini jedinstvenim.
George Romney's “Lady Hamilton as Circe,” painted in 1782, transcends mere portraiture; it embodies the spirit of Neoclassical art—a movement dedicated to reviving classical ideals of beauty and rationality. Housed within the Tate Gallery’s collection in London, this canvas offers a glimpse into a pivotal moment in British artistic history and illuminates the captivating allure of Emma Hamilton, Lord Nelson's mistress.
![Portrait of Emma Hart [later Lady Hamilton] as Miranda (1785) od George Romney](/media/artworks/images-full/68/3a/683a29e4f83e98338fc73936e4787728.jpg)
A single upward glance defines this oil sketch. The subject, Emma Hart, turns her face toward a light source from above, her eyes wide with a sense of longing or awe. Her dark, voluminous hair spills around her shoulders in thick, gestural strokes of deep brown and ochre. The skin of her forehead and chin catches the light, rendered in fleshy pinks and creams that emerge from a shadowed, textured…
The face of John Wesley emerges from a deep, atmospheric darkness. Light falls from the upper left, striking the high ridge of a brow and the soft texture of white hair. This illumination catches the crisp edge of a clerical collar, a bright white anchor against the heavy, earthy tones of his clothing. The eyes look directly forward, meeting the viewer with a steady, quiet gaze. Wrinkles trace paths across…
The air feels heavy with the scent of salt and the lingering sulfur of gunpowder. Vice-Admiral Sir Hyde Parker stands in the center of this unfolding drama, his presence a steady anchor against the chaos of the sea. He is dressed in his undress uniform, the dark fabric of his coat absorbing the light, contrasted sharply by the crisp white of his trim. His right hand rests upon an unbuckled…
In this oil on canvas from around 1782, we encounter Emma Hart transformed into the mythological figure Circe. The scene is set within a rugged, rocky landscape that recedes into deep shadows, creating an atmosphere of profound mystery. At the center of the composition, the figure dominates the foreground, her form illuminated by a strong light source from the upper left. This lighting casts heavy shadows across the terrain, emphasizing…
George Romney captures a moment of profound, quiet intellect in this portrait of Ralph Willett. The sitter is positioned in a thoughtful pose, resting his chin upon his hand—a gesture traditionally associated with wisdom and the pursuit of reason. This posture, combined with his steady, inward gaze, reflects the intellectual currents of the late 18th century. The composition is asymmetrical, with the subject seated on the right, looking toward the…
George Romney’s “Portrait of Mrs. Verelst,” painted in 1773, is more than merely a likeness; it’s a meticulously crafted window into the social and aesthetic sensibilities of Georgian England. Executed with remarkable sensitivity and technical skill, this portrait captures not just the physical appearance of its subject but also an underlying sense of quiet dignity and restrained elegance – hallmarks of Romney's distinctive style. The painting depicts Mrs. Verelst, a…
In the grand tapestry of eighteenth-century British portraiture, few images capture the delicate intersection of classical myth and human vulnerability as exquisitely as George Romney’s Emma Hart (1765–18 8), as Miranda. This captivating oil on canvas serves as a profound testament to the artist's ability to breathe life into both subject and story, presenting a woman of striking presence whose gaze seems to bridge the gap between the painted world…
A man sits anchored in an armchair, his presence defined by the heavy drape of a crimson coat. The fabric catches the light, revealing the subtle textures of fine wool and the structured lines of a gentleman's station. He wears a white wig, its pale curls framing a face marked by a mustache and a steady, direct gaze. There is a stillness in his posture, a quiet composure that suggests…
George Romney’s “Lady Hamilton as Circe,” painted in 1792, is more than just a portrait; it's an exquisitely crafted tableau vivant—a frozen moment brimming with narrative and psychological depth. This captivating work, now housed within the collections of the Frick Collection, offers a glimpse into the life of Emma Hart, later Lady Hamilton, a woman whose beauty, ambition, and scandalous affair with Lord Nelson captivated Regency England. Romney’s masterful handling…
Emma, Lady Hamilton1791 · USC Fisher Museum of Art
12
Charles Lennox, 3rd Duke of Richmond and LennoxNational Portrait Gallery
13
John Robinson of Denston Hall, Suffolk1779 · Harvard Art Museums
14
Portrait of Mary Rutledge Smith and Son Edward1786
15
William Sotheron, The Younger, of Darrington1788 · Fine Arts Museums of San Francisco
16
Portrait of Colin Dunlop of Garmyle1754
17
Sir William Hamilton1784
18
Portrait of a Man1759 · Yale Center for British Art
19
Madame de Genlis1792 · Fine Arts Museums of San Francisco
20
Portrait of the Willett Children1791 · Philadelphia Museum of Art
21
Peter RomneyNational Portrait Gallery
22
Wilson Gale-Braddyll1776 · Birmingham Museum of Art
23
Sarah Ley, Mrs Richard Tickell (1770–after 1817)1759 · Ascott House
24
Portrait of a Young Man at his Desk1795 · Städel Museum
25
Emma Hart as The Spinstress1785 · English Heritage
26
Shute Barrington, Bishop of Durham1786
27
Portrait of Marianne Holbech1782 · Philadelphia Museum of Art
28
Mr. Forbes1780 · National Gallery of Art
29
Portrait of Mrs. Finch1790 · Philadelphia Museum of Art
30
Portrait of a Gentleman1777
31
Lady in a Brown Robe1785 · Tate Gallery
32
Major-General Sir Archibald Campbell1792
33
James Romney1760 · Yale Center for British Art
34
Edmund Law, Bishop of Carlisle1771 · National Gallery of Victoria
35
James Clitherow (1731–1805)1780 · Boston Manor House
36
Colonel Clitherow1784 · Detroit Institute of Arts
37
John Flaxman Modeling the Bust of William Hayley1795 · Yale Center for British Art
38
Portrait of the Dentist Bartholomew Ruspini1800 · Statens Museum For Kunst
39
Princess Anne Lady de la Pole1786 · Muzej likovnih umjetnosti
40
Portrait of Charlotte SmithAbbot Hall Art Gallery
41
Portrait of a woman1780 · Musée Cognacq-Jay
42
Elizabeth, Duchess-Countess of Sutherland1782 · Cincinnati Art Museum
43
Miss Clavering1782 · Detroit Institute of Arts
44
Mrs James Carmichael Smyth, died 18031789 · Skotska nacionalna galerija portreta
45
Mary Hyde (née Foxcroft)1767 · Yale Center for British Art
46
Lady Altamont1788 · Tate Gallery
47
Gospa Hamilton kao Vestala1800 · English Heritage
48
Portrait of Colin MacKenzie1777 · Minneapolis Institute of Art
49
Portrait of the Honorable Mrs. Beresford1785 · Philadelphia Museum of Art
50
Portrait of Mrs. Tickell1792 · Philadelphia Museum of Art
51
Portrait of Sir John Reade1788 · Philadelphia Museum of Art
52
Lady Hamilton as Tragedy1791 · Harvard Art Museums
53
Niobid
54
Mrs Siddons1784 · The Ashmolean Museum of Art and Archaeology
55
The Hartley Children1783 · Detroit Institute of Arts
56
Sarah Phipps (née Peckham)1780 · Yale Center for British Art
57
The Willet Children1800
58
Portrait of a Lady (probably Mrs James Collingwood)1765 · Walker Art Gallery
59
Sir John Orde1785 · Nacionalni muzej stare umjetnosti
60
Portrait of Sir John Papillon Twisden, 7th Baronet1782
61
Catherine Clemens1788 · Neue Pinakothek
62
William Pitt the Younger1783 · Tate Gallery
63
Portrait of Maria and Catherine, the Daughters of Edward Thurlow, 1st Baron Thurlow1783 · Yale University Art Gallery
64
David Scott, Esq., of Dunniald1794 · Fine Arts Museums of San Francisco
65
Portrait of a Woman, Said to Be Emily Bertie Pott (died 1782)1781 · Metropolitan Museum of Art
66
Thomas Paine1792 · National Portrait Gallery
67
Esther Taubman, née Christian1786 · Manx Museum
68
Millicent Watson1750 · Muzej fine umjetnosti u Houstonu
69
Mrs. Henry Ainslie with her child1750
70
Elizabeth, Lady Blunt1764 · Muzej fine umjetnosti u Houstonu
71
Portrait of Mrs. Dawes1765
72
Portrait of an Adolescent1775 · Musée des Beaux-Arts de Pau
73
Portrait of a Lady1770 · National Gallery of Ireland
74
Mrs Ellen Morewood1770
75
Ann Wilson (née Harrison) and Her Daughter, Sybill1776 · Yale Center for British Art
76
Portrait of Jane Dawkes RobinsonIndianapolis Museum of Art
77
Portrait of a flag officer1767
78
Ann Verelst (1751–1823)1772
79
Thomas Rackett the Younger (1756–1840)1768
80
Henrietta, Countess of Warwick, and Her Children1787 · The Frick Collection
81
Major Archibald Robertson of Lawers1782 · Museum of Fine Arts, St. Petersburg, Florida, USA
82
Portrait of Mrs. Richard Thompson1780
83
Robert Child (1739 - 1782)1781 · Osterley Park And House
84
Mrs. Richard Pryce Corbet and Her Daughter Mary1783 · Cincinnati Art Museum
85
Mary and Louise Kent1785 · Cincinnati Art Museum
86
William Chafyn Grove (1731–1793)1780 · Muzej likovnih umjetnosti
87
Miss Frances Mary Harford1780 · The Frick Collection
88
Portrait of Emma Hart, later Lady Hamilton1784 · Muzej likovnih umjetnosti
89
Portrait of Sir Thomas Frankland, 6th Baronet (1750–1831)1777
90
Henry Cruger (1739–1827)1782 · New York Historical Society
91
Portrait of Mr. Edmund Poulter1780 · Gemäldegalerie
92
Lady Hamilton as St Cecilia1785
93
The Right Honourable Charles Philip Yorke (1764–1834)1782 · Auckland Art Gallery Toi o Tāmaki
94
Miss Frances Mary Harford1780
95
Joseph Allen (1713–1796)1778 · Dulwich Picture Gallery
96
Sir Henry Bayly (1744–1812), 3rd Bt, 9th Baron Paget, Later 1st Earl of Uxbridge of the Second Creation, Holding Copper Ore from the Mona Mine1785
97
Thomas Rackett the Elder (c.1725–1799)1776
98
The Infant Shakespeare Attended by Nature and the Passions1786 · Vanderbilt Museum of Art
99
Titania, Puck and the Changeling, from Shakespeare's 'A Midsummer Night's Dream'1793 · National Gallery of Ireland
100
Portrait of Mary Tighe (1747-1791), Poet1795 · National Gallery of Ireland
Četiri teme koje se najčešće ponavljaju u ovim originalima, svaka s svojim vrhunskim primjerom.
8 muzeja u kojima se nalazi najviše djela s ove stranice.
| Muzej | Grad | Djela autora George Romney | Slike iz ovog popisa |
|---|---|---|---|
 Philadelphia Museum of Art |
Filadelfija | 12 | Portrait of Emma Hart [later Lady Hamilton] as Miranda, Portrait of John Wesley, Portrait of the Willett Children |
 Yale Center for British Art |
New Haven | 10 | Portrait of a Man, James Romney, John Flaxman Modeling the Bust of William Hayley |
 Tate Gallery |
London | 16 | Lady Hamilton as Circe, Lady in a Brown Robe, Lady Altamont |
 National Portrait Gallery |
London | 17 | Charles Lennox, 3rd Duke of Richmond and Lennox, Peter Romney, Thomas Paine |
 Muzej likovnih umjetnosti |
Boston | 7 | Princess Anne Lady de la Pole, William Chafyn Grove (1731–1793), Portrait of Emma Hart, later Lady Hamilton |
 National Gallery of Ireland |
Dublin | 5 | Portrait of a Lady, Titania, Puck and the Changeling, from Shakespeare's 'A Midsummer Night's Dream', Portrait of Mary Tighe (1747-1791), Poet |
 The Frick Collection |
New York City | 4 | Lady Hamilton as, Henrietta, Countess of Warwick, and Her Children, Miss Frances Mary Harford |
 Fine Arts Museums of San Francisco |
San Francisco | 4 | William Sotheron, The Younger, of Darrington, Madame de Genlis, David Scott, Esq., of Dunniald |
Odaberite desetljeće kako biste vidjeli original koji ga definira.
The Portrait of Colin Dunlop of Garmyle is a significant oil on canvas by the British artist George Romney. Painted in 1754, this work captures a man of considerable local influence during the mid-eighteenth century. The subject is identified as Colin Dunlop of Carmyle, who held the position of Provost of Glasgow. This portrait offers a glimpse into the social standing of a prominent figure from that era.
The Composition and Subject of James Romney James Romney is an oil portrait from 1760, presented in an oval vignette format. The subject is a young man shown in a close-up bust view, focusing on the face and upper torso. He maintains a calm, neutral expression, looking toward the viewer with a sense of poise. His attire consists of a teal or cerulean blue coat and a crisp white cravat.…
George Romney’s “Portrait of Mrs. Verelst,” painted in 1773, is more than merely a likeness; it’s a meticulously crafted window into the social and aesthetic sensibilities of Georgian England. Executed with remarkable sensitivity and technical skill, this portrait captures not just the physical appearance of its subject but also an underlying sense of quiet dignity and restrained elegance – hallmarks of Romney's distinctive style. The painting depicts Mrs. Verelst, a…
George Romney's “Lady Hamilton as Circe,” painted in 1782, transcends mere portraiture; it embodies the spirit of Neoclassical art—a movement dedicated to reviving classical ideals of beauty and rationality. Housed within the Tate Gallery’s collection in London, this canvas offers a glimpse into a pivotal moment in British artistic history and illuminates the captivating allure of Emma Hamilton, Lord Nelson's mistress.
In the soft, luminous glow of George Romney’s 1791 masterpiece, Emma, Lady Hamilton, we encounter more than just a portrait; we enter a profound psychological landscape. This captivating work depicts one of the most magnetic figures of the Regency era, capturing Emma not merely as a socialite, but as a woman of deep introspection. As her gaze drifts toward an unseen horizon, the viewer is drawn into a contemplative silence,…
George Romney captures a moment of profound, quiet intellect in this portrait of Ralph Willett. The sitter is positioned in a thoughtful pose, resting his chin upon his hand—a gesture traditionally associated with wisdom and the pursuit of reason. This posture, combined with his steady, inward gaze, reflects the intellectual currents of the late 18th century. The composition is asymmetrical, with the subject seated on the right, looking toward the…
Lady Hamilton as Circe (1782), Tate Gallery, London. Nakon njih slijede Portrait of Emma Hart [later Lady Hamilton] as Miranda (1785) i Portrait of John Wesley (1789).
48 godina: Lady Hamilton as Circe datira iz 1782, a George Romney je rođen/a 1734.
Lady Hamilton as Circe, Portrait of Emma Hart [later Lady Hamilton] as Miranda, Portrait of John Wesley, Portrait of Vice-Admiral Sir Hyde Parker, 5th Baronet, Emma Hart (c.1765–1815), Lady Hamilton, as Circe, Portrait of Ralph Willett, Portrait of Mrs. Verelst, Emma Hart (1765–1815), as Miranda, Sir Thomas Rumbold (1736–1791), Bt i Lady Hamilton as. Gornji rang prikazuje godinu i muzej za svako od njih.
Naš katalog sadrži 1,201 djela umjetnika George Romney, datiranih od 1750 do 1800.
Većinom u Philadelphia Museum of Art (Filadelfija), Yale Center for British Art (New Haven) i Tate Gallery (London). Gornja tablica muzeja navodi sve njih.
U 1780s: 51 od 100 djela na ovoj stranici nastalo je tada, od čega je Lady Hamilton as Circe Lady Hamilton as Circe.
Na ovoj stranici najstarije djelo je iz Millicent Watson (1750), a najnovije iz Portrait of Ralph Willett (1800).
Man (25), Portraiture (24) i Woman (23), kroz svih 100 djela na ovoj stranici.
Oil On Canvas, za 79 od 100 djela na ovoj stranici.
Neoklasicizam, sudeći po originalima na ovoj stranici.
Portrait of Emma Hart [later Lady Hamilton] as Miranda, Portrait of John Wesley i Portrait of the Willett Children: Philadelphia Museum of Art, Filadelfija posjeduje 8 djela s ove stranice.
Rođen 26. prosinca 1734. godine u Becksideu, Dalton-in-Furness, u Lancashireu, George Romney ušao je u svijet praktičnog obrtništva. Bio je treće od jedanaestoro djece koje su rodili John Romney, stolari, i Anne Simpson. Njegove su rane godine oblikovali kućni ritmovi velike obitelji na sjeverozapadu Engleske. Iako je pohađao školu u obližnjem Dendronu, njegovo formalno obrazovanje bilo je kratko. S preerano je prekinut iz škole sa jedanaest godina kako bi započeo svoj šestarstvo u očevom stolarskom obrtu.
Preciznost koju je zahtijevao očev zanat vjerojatno je utjecala na njegov kasniji iznimni osjećaj za detalje, no njegova sklonost bila je nagnuta prema nečem slikovitijem. Lokalni časovničar potaknuo je njegovo rano interesiranje za crtanje, pružajući mu suptilno usmjeravanje daleko od drvenih alata koji su dominirali njegovim kućanstvom. Taj se rani talent na kraju odveo od radionice namještaja prema proučavanju portretarstva. Potražio je Christopher Steele, putujućeg portretista iz Kendala, kako bi usavršio svoje vještine. Pod vodstvom Steelea, Romney je započeo svoj tranziciju iz obrtničkog šegrta u istinskog umjetnika koji istražuje ljudski oblik.
Do 1762. godine, George Romney napustio je sjajne pejzaže Lancastera kako bi se suočio s iznimno kompetitivnom atmosferom Londona. Došao je u prijestolnicu tražeći i bogatstvo i priznanje, vođen ambicijom koja je prevazilazila okvire njegovog raničeg učenja. London je bio težak toplilni lonac za novu prilježnika, no on je kroz njegove društvene složenosti koračao s prirodnom lakoćom. Ubrzo se utvrdio kao vješt portretist, pronašavši svoje mjesto u krugovima visokog društva koji su diktirali estetski ukus tog doba.
Njegov uspon obilježen je izravnim natjecanjem s najistaknutijim figurama epohe, uključujući Thomas Gainsborough i Joshua Reynolds. Iako su ti suvremenici imali značajan utjecaj, George Romney je za sebe izlobio jedinstven prostor. Postao je jedan od najpopularnijih britanskih portretista kasnog osamnaestog stoljeća, uslužujući kako rastuću trgovačku klasu, tako i ustaljen nobility. Njegova sposobnost navigiranja kroz promjenjive društvene hijerarhije georgijanskog doba osigurala mu je prisutnost u najmodernijim salonima tog vremena.
Romneyjev pristup platnu definirao je osjetljivi ravnoteža između pedantnog detalja i ekspresivnog poteza četkicom. Njegova je tehnika bila rafinirana, izbjegavajući težinu i pretjeranu dramatičnost koja je obilježavala radove nekih njegovih suvremenika; umjesto toga, birao je meke poteze koji su stvarali dojam nježnog realizma. Ova metoda omogućovala mu je da s tihom sofisticiranošću dočara suptilne teksture tkanine i kože. Paleta boja koju je koristio često se oslanjala na prigušene tonove, što je u njegovim kompozicijama doprinosilo atmosferi smirenosti i staloženosti. Umjesto oslanjanja na dramatičnu umjetnost, on je nastojao uhvatiti samu esenciju svojih subjekata kroz oštro razumijevanje ljudske psihologije, što se odražavalo u nijansiranim izrazima lica koje je postigao.
Njegov tehnički repertoar bio je iznimno širok, protežući se daleko izvan gotovih uljanih slika na platnu. Bio je iznimno plodan crtač koji je koristio skice, kartone, pa čak i male studije u malom formatu kako bi razradio svoje ideje. Ta disciplinirana praksa omogućavala mu je eksperimentiranje s formom i svjetlom prije nego što bi se posvetio radu u većem smjeru. Sposobnost prevođenja tih preliminarnih studija u dovršene portrete pomagla mu je da se snađe u konkurentnom društvenom okruženju Londona, gdje je često bio pozivan da portretiše vodeće figure tog doba, uz istovremenu preciznost i miljenju.
Krivodorska linija Romneyjevog kreativnog izražavanja izrazito se promijenila nakon susreta s Emmom Hart, ženom koja će kasnije postati poznata kao Lady Hamilton. Ona je postala mnogo više od običnog modela; bila je njegova najslavnije muza koja je snažno prožlačila njegovu maštu. Njihova je veza bila intenzivna i apsolutna, poveznica koja je duboko utjecala na umjetnikov osobni život i profesionalni fokus. Kroz nju je George Romney pronašao put da nadilazi okvire standardnog portretizma i zakorači u prostore mašte i poezije.
Pod očaravanjem Emme, George Romney je stvorio niz djela inspiriranih Shakespeareom i drugim fantastičnim temama. Ta su djela omogućila umjetniku da istražuje motive fantazije i književnog narativa, koristeći njezinu izražajnost kako bi oživio dramatične likove. Naslikao je preko osamdeset portreta nje, pri čemu je svaki pokušaj pokušavao uhvatiti drugu nijansu njezine osobnosti. To razdoblje intenzivne suradnje obilježeno je eksperimentima s kompozicijom i simbolizmom, vodeći ga prema onim maštovitim i poetskim platnima koja su definirala njegove kasnije godine.
Posljednji desetljeće života koji je proživio George Romney obilježeno je postupnim povlačenjem iz društvenih krugova koji su nekada pokretali njegovu karijeru. Godine 1794. bolest je počela ozbiljno ograničavati njegov portretni rad, usporavajući plodnu kreativnost koja je definirala njegove vrhunske godine. Taj pad produktivnosti nije bio samo pitanje opadanja interesa, već teška fizička borba koja je pratila njegove kasne godine. Čovjek koji se nekada natjecao s najistaknutijim figurama georgijanske ere, našao se sve više potisnutim vlastitom bolešću.
Do 1799. godine, potreba za odmorom postala je neosporna. George Romney se, u naruštenom zdravlju, vratio u Kendal kako bi bio uz svoju suprugu, Molly. To razdoblje oporavka na sjeverozapadu bilo je tiha koda životu provedenom u užurbanim umjetničkim središćima Londona i Pariza. Ostao je snažan crtač čak i kada mu je sposobnost obavljanja velikih narudžbi opadala. Umro je u Kendalu, Westmorland, u Engleskoj, 15. studenog 1802. godine. Njegovi su ostaci položeni u pokoj u Daltonu, vrativši ga u krajolik njegovog rođenja.
Raspoređenost preživjelih platnena djela George Romney odražava geografski luk njegovog života, od njegovih sjevernih korijena do konačnog uspona u glavnom gradu. U Londonu, njegova prisutnost najsnažnije se osjeća u kolekcijama Tate Gallery, koja čuva sedamnaest njegovih radova, te National Portrait Gallery, koja posjeduje deset platna. Ove institucije nude uvid u umjetnika u vrhuncu njegovog društvenog utjecaja, hvatajući lica georgijanske ere s psihološkom dubinom koja je definirala njegovu karijeru.
Izvan glavnog grada, njegova povezanost sa sjeverozapadom i dalje je vidljiva kroz zbirke Abbot Hall Art Gallery u Kendalu, koja čuva devet njegovih slika. Ova kolekcija pruža vezu s regijom gdje je njegov život počeo i gdje je konačno dosegao svoj tihi završetak. Njegov utjecaj proteže se i preko Atlantika, s nekoliko djela koja se nalaze u Metropolitan Museum of Art u New Yorku. Među njima je i portret iz 1782. godine, Portrait of Sir Chaloner Ogle, 1st Baronet.
![Portrait of Emma Hart [later Lady Hamilton] as Miranda (1785) od George Romney](/media/artworks/images-thumb/d9/52/d9529a75a306936d6b7034684957c1e3.jpg)
