Thomas Lawrence portréja

A 100 legnevezesebb Thomas Lawrence festmény, egy galériaválaszték

Frissítve: november 2026 · rangsorolva népszerűségi pontszámunk alapján (minden mű keresései, látogatásai és megrendelései alapján) · 466 mű Thomas Lawrence alkotása a katalógusunkban

Röviden

Thomas Lawrence hagyatékából a leghíresebb alkotás Satan hívja legjonjait (1797). Röviddel ezután követik őket John Philip Kemble (1757–1823), as Coriolanus (1798) és Lord Granville Leveson Gower, later 1st Earl Granville (1809). Katalógusunkban 466 mű található Thomas Lawrence alkotótól; a galéria megőrizte a világ által leginkább csodált 100 darabot, melyeket a dátummal, a múzeummal és a történetükkel együtt mutatunk be.

1769 – 1830, Bristol Late neoclassical portraiture A legtöbb mű: Royal Collection

Thomas Lawrence legjobb 10 festménye: a galéria válogatása

1
Satan hívja legjonjait (1797) (1889) -ja Thomas Lawrence

Satan hívja legjonjait

1797 · Olajfestmény vászonon

Sir Thomas Lawrence 1797-es remekművében, a Satan hívja legjonjait című alkotásában a nézők egy kozmikus lázadás szívébe kapaszkodnak. Ez a monumentális vászonon készült olajfestmény, amely impoznott 432 x 274 cm-es méretével lenyűgöző ablakot nyit Miltoni eposz mélységeibe. A festmény megörökíti az átmenetel pontos pillanatát, amelyet John Milton Paradise Lost című művében írt le: azt a hátborzongató parancsot, miszerint: „Ébredj, állj fel, vagy esd le örökké”. E gyöngyházas káosz közepén nem…

2
John Philip Kemble (1757–1823), as Coriolanus (1798) (1889) -ja Thomas Lawrence

John Philip Kemble (1757–1823), as Coriolanus

1798 · Oil On Canvas · Guildhall Art Gallery, London

To stand before this portrait of John Philip Kemble as Coriolanus is to step directly into the tempestuous heart of the late eighteenth century. Sir Thomas Lawrence has captured not merely a likeness, but an overwhelming emotional state—a moment suspended between public grandeur and private turmoil. The composition immediately draws the viewer into its dramatic embrace, dominated by the figure shrouded in shadow. It is a masterclass in Romantic sensibility,…

3
Lord Granville Leveson Gower, later 1st Earl Granville (1809) (1889) -ja Thomas Lawrence

Lord Granville Leveson Gower, later 1st Earl Granville

1809 · Oil On Canvas · Yale Center for British Art, New Haven

In the sweeping annals of British portraiture, few eras capture the intoxicating blend of aristocratic poise and romantic idealism quite like the Regency period. Sir Thomas Lawrence’s portrait of Lord Granville Levan Gower, completed between 1804 and 1809, serves as a breathtaking window into this gilded age. As a quintessential emblem of high society, the painting transcends a mere physical likeness; it is a meticulously crafted tableau that speaks to…

4
William van Mildhert (1765–1836), Durham püspöke (1826–1836) (1829) (1889) -ja Thomas Lawrence

William van Mildhert (1765–1836), Durham püspöke (1826–1836)

1829 · Olajfestmény vászonon · Auckland Castle, Auckland

William van Mildhert (1765–1836), Bishop of Durham (1826–1836) – Egy Elegáns Régészeti Ünnepélyes Tábla A William van Mildhert életét és művészetét, Sir Thomas Lawrence nagy mester alkotása révén ismerjük meg. Ez nem egy egyszerű portré, hanem egy időszak ikonikus képe, amely tükrözi az angol Régész Kor széleskörű kulturális és művészi világát. A tábla 1829-ben született és őrzött közös ingatlanként Durham Egyetem területén található meg. A kép egy nagy előadású műalkotás,…

5
John, Count Capo d'Istria (1776-1831) (1819) (1889) -ja Thomas Lawrence

John, Count Capo d'Istria (1776-1831)

1819 · Oil On Canvas · Royal Collection, London

In the sweeping landscape of early 19th-century portraiture, few works capture the intersection of political gravity and aristocratic grace as masterfully as Sir Thomas Lawrence’s 'John, Count Capo d'Istria (1776-18ABS)'. Painted in 1819, this exquisite oil on canvas serves as a profound window into an era defined by shifting borders and the rise of influential statesmen. The subject, John, Count Capo d'Istria, emerges from the frame not merely as a…

6
The 3rd Marquess of Hertford (1823) (1889) -ja Thomas Lawrence

The 3rd Marquess of Hertford

1823 · Painting · Wallace Collection, London

To stand before this portrait of The 3rd Marquess of Hertford is to step directly into the polished drawing rooms and sophisticated salons of early nineteenth-century England. Painted in 1823, this work captures not merely a likeness, but an entire epoch—the height of Regency elegance and aristocratic confidence. Sir Thomas Lawrence, master chronicler of the British elite, has rendered the Marquess with a masterful blend of formality and undeniable vitality.…

7
LA COMTESSE D'INCHIQUIN (1889) -ja Thomas Lawrence

LA COMTESSE D'INCHIQUIN

Oil On Canvas · Louvre Múzeum, Párizs

In this portrait, we encounter the Comtesse d'Inchiquin, captured in a moment of quiet composure. The sitter is presented in a three-quarter view, her presence defined by an air of dignity and refinement that speaks to her social standing. There is a certain stillness here; she sits facing us slightly, her hands resting upon the soft folds of a draped garment or perhaps the arm of a chair. The composition…

8
William Windham (1750–1810), MP, Lord Lieutenant of Ireland (1783), Secretary for War (1792–1801), Secretary for War and the Colonies (1806) (1803) (1889) -ja Thomas Lawrence

William Windham (1750–1810), MP, Lord Lieutenant of Ireland (1783), Secretary for War (1792–1801), Secretary for War and the Colonies (1806)

1803 · Oil On Canvas · University College, Oxford

In the grand tapestry of British portraiture, few works capture the intersection of political gravity and artistic elegance as profoundly as Sir Thomas Lawrence’s 1803 masterpiece, William Windham. This portrait is far more than a mere recording of a statesman's features; it is a compelling visual narrative of power, intellect, and the pervasive influence of aristocratic patronage during the Napoleonic era. As the viewer encounters Windham, they are met with…

9
The Two Sons of the 1st Earl of Talbot (1793) (1889) -ja Thomas Lawrence

The Two Sons of the 1st Earl of Talbot

1793 · Oil On Canvas · Neue Pinakothek, Munich

In this 1793 portrait, two figures stand in a formal outdoor setting, their connection emphasized by joined hands. To the left, a man with blonde hair is dressed in a structured suit, while to the right, a woman is draped in a deep red garment. A dog rests near them, grounding the composition in a sense of domesticity despite the formal arrangement. In the background, the presence of a horse…

10
Portrait of the Children of John Angerstein (1808) (1889) -ja Thomas Lawrence

Portrait of the Children of John Angerstein

1808 · Oil On Canvas · Louvre Múzeum, Párizs

Portrait of the Children of John Angerstein, an oil on canvas executed by Thomas Lawrence, captures a group of young siblings in a family portrait. Dated 1807, the work depicts the grandchildren of John Julius Angerstein, a prominent figure whose legacy is tied to the foundation of the National Gallery. Lawrence, a significant figure in British portraiture, renders the subjects with a focus on their individual likenesses within a natural…

A Thomas Lawrence válogatás folytatódik: 11 – 100

11Portrait of Klemens Wenzel von Metternich (1814) (1889) -ja Thomas LawrencePortrait of Klemens Wenzel von Metternich1814 · Hermitaeus-múzeum 12William Carr (1768–1854), Viscount Beresford, GCB (1818) (1889) -ja Thomas LawrenceWilliam Carr (1768–1854), Viscount Beresford, GCB1818 · English Heritage 13George IV (1822) (1889) -ja Thomas LawrenceGeorge IV1822 · Wallace Collection 14Queen Charlotte (1789) (1889) -ja Thomas LawrenceQueen Charlotte1789 · National Gallery 15Robert Southey (1774–1843) (1810) (1889) -ja Thomas LawrenceRobert Southey (1774–1843)1810 · Llyfrgell Genedlaethol Cymru / The National Library of Wales 16Portrait of David Lyon (1825) (1889) -ja Thomas LawrencePortrait of David Lyon1825 · Thyssen-Bornemisza Múzeum 17Portrait of Count Mikhail S. Vorontsov (1782-1856) (1821) (1889) -ja Thomas LawrencePortrait of Count Mikhail S. Vorontsov (1782-1856)1821 · Hermitaeus-múzeum 18Portrait of Emily Harriet Wellesley-Pole (Lady Raglan) (1792-1881) (1814) (1889) -ja Thomas LawrencePortrait of Emily Harriet Wellesley-Pole (Lady Raglan) (1792-1881)1814 · Hermitaeus-múzeum 19Portrait of the Honorable George Canning, M.P. (1822) (1889) -ja Thomas LawrencePortrait of the Honorable George Canning, M.P.1822 · Art Institute of Chicago 20Portrait of Count Semyon Vorontsov (1744-1832) (1805) (1889) -ja Thomas LawrencePortrait of Count Semyon Vorontsov (1744-1832)1805 · Hermitaeus-múzeum 21A Gypsy Girl (1794) (1889) -ja Thomas LawrenceA Gypsy Girl1794 22George Dance the Younger (1741–1825), Architect and Surveyor (1798) (1889) -ja Thomas LawrenceGeorge Dance the Younger (1741–1825), Architect and Surveyor1798 · Guildhall Art Gallery 23Ercole, Cardinal Consalvi (1757 1824) (1819) (1889) -ja Thomas LawrenceErcole, Cardinal Consalvi (1757 1824)1819 · Royal Collection 24The Countess of Darnley (1825) (1889) -ja Thomas LawrenceThe Countess of Darnley1825 25Admiral John Markham (1793) (1889) -ja Thomas LawrenceAdmiral John Markham1793 · Yale Center for British Art 26Sir Alexander Mackenzie (1800) (1889) -ja Thomas LawrenceSir Alexander Mackenzie1800 · Kanadai Nemzeti Galéria 27John Bradburne (d.1809 ) (1800) (1889) -ja Thomas LawrenceJohn Bradburne (d.1809 )1800 · Walker Art Gallery 28MRS ISAAC CUTHBERT (1889) -ja Thomas LawrenceMRS ISAAC CUTHBERTLouvre Múzeum 29Ewan Law, M.P. (1788) (1889) -ja Thomas LawrenceEwan Law, M.P.1788 · Detroit Institute of Arts 30Portrait of the Children of Lord George Cavendish (1790) (1889) -ja Thomas LawrencePortrait of the Children of Lord George Cavendish1790 · Städel Múzeum 31Sir Samuel Romilly (1808) (1889) -ja Thomas LawrenceSir Samuel Romilly1808 · National Portrait Gallery 32Henry William Paget (1768–1854), 1st Marquess of Anglesey, KG (1818) (1889) -ja Thomas LawrenceHenry William Paget (1768–1854), 1st Marquess of Anglesey, KG1818 · English Heritage 33Maria Woodley (1772–1808), Mrs Walter Riddell (1806) (1889) -ja Thomas LawrenceMaria Woodley (1772–1808), Mrs Walter Riddell1806 · Kingston Lacy 34The Marchioness of Sutherland (1816) (1889) -ja Thomas LawrenceThe Marchioness of Sutherland1816 · The Walters Art Museum 35George IV (1762–1830) (1830) (1889) -ja Thomas LawrenceGeorge IV (1762–1830)1830 · Walker Art Gallery 36Portrait of a Lady (1800) (1889) -ja Thomas LawrencePortrait of a Lady1800 · Wallace Collection 37Lady Caroline Lamb (d.1828) (1827) (1889) -ja Thomas LawrenceLady Caroline Lamb (d.1828)1827 · Bristol Museum - Art Gallery 38Portrait of the Honorable Mrs. Seymour Bathurst (1828) (1889) -ja Thomas LawrencePortrait of the Honorable Mrs. Seymour Bathurst1828 · Dallas Museum of Art 39Portrait of Georgina Lennox, later Countess Bathurst (1780) (1889) -ja Thomas LawrencePortrait of Georgina Lennox, later Countess Bathurst1780 40Maria Linley (1784) (1889) -ja Thomas LawrenceMaria Linley1784 · Dulwich Picture Gallery 41Mrs. Ayscoghe Boucherett (1795) (1889) -ja Thomas LawrenceMrs. Ayscoghe Boucherett1795 · Detroit Institute of Arts 42Portrait of a Seated Man with a Book (1790) (1889) -ja Thomas LawrencePortrait of a Seated Man with a Book1790 · Szlovák Nemzeti Galéria 43Henry Phipps, 1st Earl of Mulgrave (1790) (1889) -ja Thomas LawrenceHenry Phipps, 1st Earl of Mulgrave1790 · Bavári Állami Festırménygyűjtemények 44Edward Willes (1790) (1889) -ja Thomas LawrenceEdward Willes1790 · Museum of Fine Arts, Houston 45Princess Amelia (1783-1810) (1789) (1889) -ja Thomas LawrencePrincess Amelia (1783-1810)1789 · Royal Collection 46Portrait of a Man in a Blue Coat (1790) (1889) -ja Thomas LawrencePortrait of a Man in a Blue Coat1790 · Művészeti Múzeum, Boston 47William Lock of Norbury (1732–1810) (1790) (1889) -ja Thomas LawrenceWilliam Lock of Norbury (1732–1810)1790 · Művészeti Múzeum, Boston 48Portrait of a man (1794) (1889) -ja Thomas LawrencePortrait of a man1794 49Portrait of Mrs. William Locke (1789) (1889) -ja Thomas LawrencePortrait of Mrs. William Locke1789 50William Eden (1744–1814), Baron Auckland (1792) (1889) -ja Thomas LawrenceWilliam Eden (1744–1814), Baron Auckland1792 · Művészeti Múzeum, Boston 51Portrait of Elizabeth, Marchioness Conyngham (1801) (1889) -ja Thomas LawrencePortrait of Elizabeth, Marchioness Conyngham1801 · Birmingham Museum and Art Gallery 52Portrait of Emily and Laura-Anne Calmady (1801) (1889) -ja Thomas LawrencePortrait of Emily and Laura-Anne Calmady1801 · Musée Cognacq-Jay 53Portrait of John Philpot Curran (1750-1817), Orator and Statesman (1799) (1889) -ja Thomas LawrencePortrait of John Philpot Curran (1750-1817), Orator and Statesman1799 · National Gallery of Ireland 54Portrait of John Jeffreys Pratt, Marquess of Camden (1759-1840) (1802) (1889) -ja Thomas LawrencePortrait of John Jeffreys Pratt, Marquess of Camden (1759-1840)1802 · National Gallery of Ireland 55Portrait of Sir James Erskine of Torrie Bt (1772‐1825) (1800) (1889) -ja Thomas LawrencePortrait of Sir James Erskine of Torrie Bt (1772‐1825)1800 56Mrs Sarah Siddons (1800) (1889) -ja Thomas LawrenceMrs Sarah Siddons1800 · National Library of Wales 57Portrait of John Philip Kemble (fragment) (1800) (1889) -ja Thomas LawrencePortrait of John Philip Kemble (fragment)1800 · Rhode Island School of Design Museum of Art 58Portrait of Charlotte and Sarah Carteret-Hardy (1801) (1889) -ja Thomas LawrencePortrait of Charlotte and Sarah Carteret-Hardy1801 · Cleveland Museum of Art 59Princess Charlotte of Wales (1796-1817) (1803) (1889) -ja Thomas LawrencePrincess Charlotte of Wales (1796-1817)1803 · Royal Collection 60Duchess of St. Albans (1802) (1889) -ja Thomas LawrenceDuchess of St. Albans1802 · Indianapolis Művészeti Múzeum 61Sir Uvedale Price, Baronet (1747–1829) (1799) (1889) -ja Thomas LawrenceSir Uvedale Price, Baronet (1747–1829)1799 · Művészeti Múzeum, Boston 62Unknown sitter (1800) (1889) -ja Thomas LawrenceUnknown sitter1800 · Birmingham Museum of Art 63Portrait of a Lady (1800) (1889) -ja Thomas LawrencePortrait of a Lady1800 · Wallace Collection 64Miss Kent (1800) (1889) -ja Thomas LawrenceMiss Kent1800 65Elizabeth, Marchioness Conyngham (1769–1861) (1802) (1889) -ja Thomas LawrenceElizabeth, Marchioness Conyngham (1769–1861)1802 66Study of a Girl (1800) (1889) -ja Thomas LawrenceStudy of a Girl1800 67Sir Codrington Edmund Carrington (1769–1849) (1801) (1889) -ja Thomas LawrenceSir Codrington Edmund Carrington (1769–1849)1801 · Victoria and Albert Museum 68Portrait of Jàcome Ratton (1810) (1889) -ja Thomas LawrencePortrait of Jàcome Ratton1810 · Nemzeti Ókori Művészeti Múzeum 69Thomas Taylor (1812) (1889) -ja Thomas LawrenceThomas Taylor1812 · Kanadai Nemzeti Galéria 70King George IV (1762-1830) (1814) (1889) -ja Thomas LawrenceKing George IV (1762-1830)1814 71Robert Stewart, Viscount Castlereagh, 2nd Marquess of Londonderry, KG, GCH, MP (1769-1822) (1814) (1889) -ja Thomas LawrenceRobert Stewart, Viscount Castlereagh, 2nd Marquess of Londonderry, KG, GCH, MP (1769-1822)1814 · Mount Stewart 72The Children of Sir Samuel Fludyer (1806) (1889) -ja Thomas LawrenceThe Children of Sir Samuel Fludyer1806 · Museu de Arte de São Paulo Assis Chateaubriand (MASP) 73Portrait of George Canning (1810) (1889) -ja Thomas LawrencePortrait of George Canning1810 · Bavári Állami Festırménygyűjtemények 74Lady Orde with her Daughter Anne (1810) (1889) -ja Thomas LawrenceLady Orde with her Daughter Anne1810 · Bavári Állami Festırménygyűjtemények 75Portrait of a Man (1805) (1889) -ja Thomas LawrencePortrait of a Man1805 76Portrait of Joseph Henry (1805) (1889) -ja Thomas LawrencePortrait of Joseph Henry1805 · Museum of Fine Arts, Houston 77Portrait of George Canning (1810) (1889) -ja Thomas LawrencePortrait of George Canning1810 · Nemzeti Szépművészeti Múzeum 78Portrait of Joseph Farington, R.A. (1807) (1889) -ja Thomas LawrencePortrait of Joseph Farington, R.A.1807 · Nemzeti Szépművészeti Múzeum 79Miss Harriet Clements (1805) (1889) -ja Thomas LawrenceMiss Harriet Clements1805 · Indianapolis Művészeti Múzeum 80Lord Uxbridge (1810) (1889) -ja Thomas LawrenceLord Uxbridge1810 · Antwerpeni Királyi Szépművészeti Múzeum 81Francis Moore (1767-1854) (1810) (1889) -ja Thomas LawrenceFrancis Moore (1767-1854)1810 · Harvard Art Museums 82George III (1809) (1889) -ja Thomas LawrenceGeorge III1809 83Portrait of Viscountess Pollington with Her Son John Charles (1811) (1889) -ja Thomas LawrencePortrait of Viscountess Pollington with Her Son John Charles1811 84Edward Jenner (1749–1823) (1809) (1889) -ja Thomas LawrenceEdward Jenner (1749–1823)1809 85King George IV (1762-1830) as Prince Regent (1822) (1889) -ja Thomas LawrenceKing George IV (1762-1830) as Prince Regent1822 · Knole House 86George IV as Prince-Regent with the insignia of the Order of the Garter (1818) (1889) -ja Thomas LawrenceGeorge IV as Prince-Regent with the insignia of the Order of the Garter1818 · Museu de Arte de São Paulo Assis Chateaubriand (MASP) 87Princess Lieven (1816) (1889) -ja Thomas LawrencePrincess Lieven1816 88Alexander Ivanovitch, Prince Chernichev (1786-1857) (1818) (1889) -ja Thomas LawrenceAlexander Ivanovitch, Prince Chernichev (1786-1857)1818 · Royal Collection 89Robert Stewart (1769-1822), Viscount Castlereagh, later second Marquess of Londonderry (1816) (1889) -ja Thomas LawrenceRobert Stewart (1769-1822), Viscount Castlereagh, later second Marquess of Londonderry1816 · Royal Collection 90George III (1738-1820) (1820) (1889) -ja Thomas LawrenceGeorge III (1738-1820)1820 · Royal Collection 91Adolphus, Duke of Cambridge (1774-1850) (1820) (1889) -ja Thomas LawrenceAdolphus, Duke of Cambridge (1774-1850)1820 · Royal Collection 92The Prince Regent, later George IV (1818) (1889) -ja Thomas LawrenceThe Prince Regent, later George IV1818 · Művészeti Múzeum, Boston 93Mary, Countess of Plymouth (1817) (1889) -ja Thomas LawrenceMary, Countess of Plymouth1817 · Fine Arts Museums of San Francisco 94Mister Hasting (1815) (1889) -ja Thomas LawrenceMister Hasting1815 · Vanderbilt Museum of Art 95Frederick William Stewart (1818) (1889) -ja Thomas LawrenceFrederick William Stewart1818 96Portrait of Miss Rosamond Croker (1827) (1889) -ja Thomas LawrencePortrait of Miss Rosamond Croker1827 · Buffalo AKG Art Museum 97Mrs. William Lock of Norbury (1829) (1889) -ja Thomas LawrenceMrs. William Lock of Norbury1829 · The Nelson-Atkins Museum of Art 98Portrait of Lady Sarah Ingestre (1827) (1889) -ja Thomas LawrencePortrait of Lady Sarah Ingestre1827 · Rhode Island School of Design Museum of Art 99Lady Frances Anne Emily Vane-Tempest, Marchioness of Londonderry (1800-1865) and her Son George Henry Robert Charles William Vane-Tempest, Viscount Seaham, later 5th Marquess of Londonderry (1821-1884) (1827) (1889) -ja Thomas LawrenceLady Frances Anne Emily Vane-Tempest, Marchioness of Londonderry (1800-1865) and her Son George Henry Robert Charles William Vane-Tempest, Viscount Seaham, later 5th Marquess of Londonderry (1821-1884)1827 · Mount Stewart 100Portrait of Mr. and Mrs. James Dunlop (1825) (1889) -ja Thomas LawrencePortrait of Mr. and Mrs. James Dunlop1825 · Worcester Art Museum

Thomas Lawrence híres festményei, korszakonként

A témák, amelyek Thomas Lawrence figyelmét meghúzták

A négy leggyakorobban előforduló téma ebben az eredeti művekben, mindegyik a legkiválóbb példájával.

A műemlékek, amelyek Thomas Lawrence eredeti műveit őrzik

A 8 olyan múzeum, amely a legtöbb ezen az oldalon szereplő festményet őrzi.

Múzeum Város Thomas Lawrence művei Ebből a listából származó festmények
Royal Collection, LondonRoyal Collection London 43 John, Count Capo d'Istria (1776-1831), Ercole, Cardinal Consalvi (1757 1824), Princess Amelia (1783-1810)
Művészeti Múzeum, Boston, BostonMűvészeti Múzeum, Boston Boston 5 Portrait of a Man in a Blue Coat, William Lock of Norbury (1732–1810), William Eden (1744–1814), Baron Auckland
Wallace Collection, LondonWallace Collection London 6 The 3rd Marquess of Hertford, George IV, Portrait of a Lady
Hermitaeus-múzeum, SzentpétervárHermitaeus-múzeum Szentpétervár 4 Portrait of Klemens Wenzel von Metternich, Portrait of Count Mikhail S. Vorontsov (1782-1856), Portrait of Emily Harriet Wellesley-Pole (Lady Raglan) (1792-1881)
Louvre Múzeum, PárizsLouvre Múzeum Párizs 10 LA COMTESSE D'INCHIQUIN, Portrait of the Children of John Angerstein, MRS ISAAC CUTHBERT
Bavári Állami Festırménygyűjtemények, MunchenBavári Állami Festırménygyűjtemények Munchen 3 Henry Phipps, 1st Earl of Mulgrave, Portrait of George Canning, Lady Orde with her Daughter Anne
English Heritage, LondonEnglish Heritage London 5 William Carr (1768–1854), Viscount Beresford, GCB, Henry William Paget (1768–1854), 1st Marquess of Anglesey, KG
Guildhall Art Gallery, LondonGuildhall Art Gallery London 4 John Philip Kemble (1757–1823), as Coriolanus, George Dance the Younger (1741–1825), Architect and Surveyor

Thomas Lawrence évtizede folgtva: az eredeti művek, amelyek meghatározzák az egyes korzakot

Művek évtizedenként

Váassz ki egy évtizedet, hogy megnézhesd az azt meghatározó eredetiműveket.

Gyűjtői kérdések Thomas Lawrence festményeivel kapcsolatban

Melyik művel a(z) Thomas Lawrence a leghíresebb?Fedje fel a választ

Satan hívja legjonjait (1797). Ezt követi John Philip Kemble (1757–1823), as Coriolanus (1798) és Lord Granville Leveson Gower, later 1st Earl Granville (1809).

Hány éves volt Thomas Lawrence, amikor a Satan hívja legjonjait készült?Fedje fel a választ

28 éves: Satan hívja legjonjait 1797-ből származik, Thomas Lawrence pedig 1769-ben született.

Melyek a tíz leghíresebb Thomas Lawrence festmény?Fedje fel a választ

Satan hívja legjonjait, John Philip Kemble (1757–1823), as Coriolanus, Lord Granville Leveson Gower, later 1st Earl Granville, William van Mildhert (1765–1836), Durham püspöke (1826–1836), John, Count Capo d'Istria (1776-1831), The 3rd Marquess of Hertford, LA COMTESSE D'INCHIQUIN, William Windham (1750–1810), MP, Lord Lieutenant of Ireland (1783), Secretary for War (1792–1801), Secretary for War and the Colonies (1806), The Two Sons of the 1st Earl of Talbot és Portrait of the Children of John Angerstein. A fenti rangsor a művek évszamarát és a múzeumát jelzi.

Hány festményet hagyott hátra Thomas Lawrence?Fedje fel a választ

Katalógusunkban 466 mű található Thomas Lawrence alkotótól, 1780 és 1830 év közötti időszakból.

Mely múzeumokban állnak Thomas Lawrence remekművei?Fedje fel a választ

Leginkább Royal Collection (London), Művészeti Múzeum, Boston (Boston) és Wallace Collection (London) található. A fenti múzeumi táblázatban mindegyik felsorolásra került.

Mely években festette Thomas Lawrence leghíresebb műveit?Fedje fel a választ

1800s alatt: a jelen laphonon található 100 műből 31 készült ebben az időszakban, köztük Lord Granville Leveson Gower, later 1st Earl Granville.

Mikszétek az első és az utolsó híres eredeti műve a(z) Thomas Lawrence alkotótól?Fedje fel a választ

Ezen az oldalon a leghitelesebb Portrait of Georgina Lennox, later Countess Bathurst (1780), a legutóbbi pedig George IV (1762–1830) (1830).

Milyen témaköröket választott leggyakrabban Thomas Lawrence?Fedje fel a választ

Man (43), Portrait (30) és Dark background (25), a jelen oldalon található 100 műművészeti alkotás között.

Melyik technikát alkalmazta leggyakrabban Thomas Lawrence?Fedje fel a választ

Oil On Canvas, a jelen oldalon található 100 műből 84 darab esetén.

Mely művészeti irányba tartozik Thomas Lawrence?Fedje fel a választ

Late neoclassical portraiture és Neoclassicism, ezen az oldalon található eredetiek alapján.

Mely Thomas Lawrence művei láthatóak a Royal Collection kiállتításán?Fedje fel a választ

John, Count Capo d'Istria (1776-1831), Ercole, Cardinal Consalvi (1757 1824) és Princess Amelia (1783-1810): a Royal Collection, London 8 művet őrzi ezen az oldalon.

Thomas Lawrence: életmű és életút

A Brushstroke of Regency Splendor: The Life and Art of Sir Thomas Lawrence

Sir Thomas Lawrence, a name synonymous with the elegance and sophistication of the Regency era, was more than just a portrait painter; he was a chronicler of his time. Born in Bristol in 1769 amidst the vibrant bustle of a port city, his early life was marked by movement – following his father’s innkeeping ventures across Devizes and finally settling in the fashionable spa town of Bath. It was within these convivial settings that Lawrence's artistic talent first began to shine, sketching remarkably accurate portraits for local patrons while still supporting his family. This nascent skill, honed without formal instruction but fueled by innate observation and a keen eye for detail, hinted at a prodigious gift – a gift he would soon transform into a celebrated career.

Ascension to Portraiture’s Pinnacle

The move to London in 1789 marked the true beginning of Lawrence's ascent. He quickly established himself as a portrait painter in oils, securing his first royal commission – a captivating portrait of Queen Charlotte – and instantly catapulting him into the heart of London society. This wasn’t merely about technical skill; Lawrence possessed an extraordinary ability to capture not just likeness but also *character*, imbuing his subjects with a flattering yet insightful presence. He became a master of portraying the glamour, refinement, and social dynamics of the Regency period, painting nobility, royalty, and prominent figures with a virtuoso handling of paint that drew comparisons to Sir Joshua Reynolds, whom he deeply admired. Lawrence’s election as an associate, then full member, of the Royal Academy in 1791 and 1794 solidified his position within the established art world – a testament to his growing reputation and artistic merit. His success was further underscored by his appointment as Painter-in-Ordinary to the King in 1800, a prestigious role that granted him unparalleled access to the highest echelons of power and provided a steady stream of lucrative commissions.

The Waterloo Chamber and Artistic Innovation

Lawrence’s career reached its zenith during the Napoleonic Wars, particularly with his commission to paint portraits for the Waterloo Chamber at Windsor Castle. This monumental undertaking – intended to commemorate the decisive victory over Napoleon – demanded not only technical mastery but also a profound understanding of composition and scale. The resulting series of portraits, depicting allied leaders from across Europe, showcased Lawrence’s ability to capture gravitas, authority, and the complex relationships between nations. These works were more than just paintings; they were powerful statements about British leadership and the triumph of reason over tyranny. Beyond this grand project, Lawrence continued to innovate in his portraiture style, refining his use of light and shadow, experimenting with color palettes, and developing a distinctive technique that blended classical elegance with a subtle sense of Romanticism.

Personal Life and Complexities

Despite his professional triumphs, Lawrence’s personal life was marked by both passion and sorrow. He became deeply involved with the Siddons family – Sarah Siddons, a celebrated actress, and her daughters, Maria and Sally. These relationships provided him with inspiration and companionship but also brought heartache and scandal to his reputation. Lawrence struggled financially throughout much of his career, often burdened by debt despite earning substantial sums from his commissions. He was known for his meticulous attention to detail, sometimes spending weeks perfecting a single portrait, which contributed to the delays and financial pressures he faced. Furthermore, Lawrence’s sitters reflected the social landscape of his time – including both slave owners and abolitionists – a stark reminder of the moral ambiguities inherent in Regency society.

A Lasting Legacy

Sir Thomas Lawrence died in London in 1830 at the age of 61, leaving behind a remarkable body of work that continues to captivate audiences today. His portraits are celebrated for their elegance, technical brilliance, and ability to capture the essence of his subjects – offering a vivid glimpse into the world of Regency England. While his reputation experienced a decline during the Victorian era, largely due to shifting artistic tastes, Lawrence’s legacy has been partially restored in recent decades, recognizing him as one of Britain's most accomplished and enduring portraitists. His influence can be seen in the works of later painters who sought to emulate his style and capture the spirit of an era, solidifying his place as a pivotal figure in British art history. His work remains a testament to his talent, charm, and enduring contribution to the world of art.