Atnaujinta lapkritis 2026 · pagal mūsų populiarumumo koeficientą (paieškos, lankytojai ir užsakymai kiekvienam kūriniui) · 89 Jonathan Richardson Starsėsis darbai mūsų kataloge
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Iš visų paliktų originalų kūrinių Jonathan Richardson Starsėsis garsiausias yra Garton Orme at the Spinet (1707), esantis The Holburne Museum kolekcijoje, Bata. Tiesiog už jų seka William Cheselden (1688–1752) (1730) ir 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). Mūsų kataloge yra 89 darbų autoriaus Jonathan Richardson Starsėsis; galerija išsaugojo 88 labiausiai pasaulyje žyminiausių kūrinių – kiekvienas jų pateikiamas su datos, muziejaus ir istorijos aprašymu.
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 · Škotijos nacionalinė portretų galerija
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
Ketverios temos, dažniausiai pasikrausto originaluose, kiekvienos su savo puikiausiu pavyzdžiu.
#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 muziejai, kuriuose saugoma daugiausia šioje pusėje esamų paveikslų.
| Muzejaus | Miestas | Jonathan Richardson Starsėsis darbai | Šiojo sąrašo paveikslai |
|---|---|---|---|
 National Portrait Gallery |
Londras | 8 | Sir Richard Steele, Henry St John, 1st Viscount Bolingbroke, Sir William Wyndham, 3rd Bt |
 National Maritime Museum |
Londonas | 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 |
Londonas | 2 | John Carmichael, 3rd Earl of Hyndford (1701–1767), Ambassador to Vienna (1752–1764), Sir James Burrow (1701–1782), Editor of Law Reports |
 Ickworth |
Safolko apskritis | 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 |
Birminghamas | 2 | Josiah Bateman, Elizabeth, 1st Countess of Aylesford (d.1743) |
Pasirinkite dešimtmetį, kad pamatytėte jį apibrėžusį originalą.
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, Bata. Toliau seka William Cheselden (1688–1752) (1730) ir 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 metų amžiaus: Garton Orme at the Spinet sukurta 1707 m. Nr. Jonathan Richardson Starsėsis gimė 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) ir Henry St John, 1st Viscount Bolingbroke. Viršuje esančioje reitingo sąraše nurodyta kiekvieno kūrinio metis ir muziejus.
Mūsų kataloge yra 89 Jonathan Richardson Starsėsis darbų, skirtų laikotarpiui nuo 1693 iki 1745.
Daugiausia – National Portrait Gallery (Londras), National Maritime Museum (Londonas) ir National Trust (Derby). Viršuje esančiame muziejų sąraše yra visi jie.
1730s laikotarpiu: 14 iš 88 šioje pusėje esančių darbų buvo sukurtos tada, iš jų William Cheselden (1688–1752).
Šioje pusėje seniausias darbas yra Lord Matthew Aylmer (c.1655–1720) (1693), o naujausias – Sir James Burrow (1701–1782), Editor of Law Reports (1745).
18th century (13), Portraiture (12) ir Portrait (7) iš 88 šioje pusėje esamų darbų.
Oil On Canvas, iš 88 šios puslapio darbų – 11.
Neoclassicism ir Baroque, vadovaujantis šios puslapio originalais kūriniais.
Sir Richard Steele, Henry St John, 1st Viscount Bolingbroke ir Sir William Wyndham, 3rd Bt: National Portrait Gallery, Londras kolekcijoje yra 8 šioje pusėje esančių darbų.
Dididžioje XVIII amžiaus Britų meno gausioje audinyje nedarbingas intelektualinis ar vizualiai tvarus siūlė kaip ta, kurią suregavo Jonathan Richardson Starsėsis. Gimęs Londone, St. Botolph parapijoje, 1667 m. sausio 12 d., Richardson’o gyvenimo kelias buvo formuojamas tiek dėl asmeninių sunkumų, tiek dėl neįtikėtinio intelektualinio smalsumo. Po ankstyvojo savo tėvo, Williamo Richardsono, praradimo, jaunas menininkas atsidūrė po globos šeimobyčiaus, tačiau būtent per oficialią mokymus raštininko, jis pradėjo ugdyti tą tikslumą, kuris vėliau tapo jo brushio darbų žyminumo ženklu. Tikrasis jo metamorfozas įvyko tada, kai jis į into_{}siėjo John Riley, gerbiamosios aplinką, kurio studija tapo svarbiu klučiu besivystančiam Richardson’o talentui. Šis mokymų laikotarpis davė jam daugiau nei tik mokė tapybos mechanikos; jis panardino jį į pasaulį, kuriame portretas buvo ne tik bruožų fiksavimas, bet ir gilus charakterio bei socialinės padėties tyrimas.
Laikui bėgant karjera klestėjo, ir Richardsonas išpopulėro kaip išskirtingas dažytojas, užėmęs vietą, kurioje aristokratiško globos formalūs reikalavimai susitiko su giliu, asmeniniu, psichologiniu gyliu. Jo darbuose dažnai vengama pompastingų, teatrališkuų posūkių, būdingų kai kurioms Baroko aplinkoms, vietoje jų rinkiantis subtilią eleganciją ir meistrišką švelnių toninių nugradacijų valdymą. Verčiamas dramatiško Rembrandt chiaroscuro ir tikslaus stebėjimo, kurį rodė vėlesni meistrai, tokie kaip Wright of Derby, Richardsonas turėjo unikalią gebėtybę užfiksuoti tylo orumą savo subjektų veiduose. Ar tai būtų intelektualus rimtumas, kurį perteikė Richard Hale, ar rami, mokslui skirta atmosfera aplink Matthew Prior, jo plėtoiniai tarnavo kaip langai į Švęčiausiosios eros dvasią, teikdami pirmenybę tikslumui ir jausmui bei egzistencijos pojūdiui, o ne papildomam dekoratyvumui.
Nors jo portretai vis dar yra vertinami dėl savo estetinio švelnumo, svarbiausias Richardsono indėlis į meno pasaulį slypi jo vaidmenio kaip meno teorijos pionieriaus. Jis buvo daugiau nei tik amatybiškas meistras; jis buvo pats išsamiausias šio meno filosofas. Per savo esminį veikalą An Essay on Painting, paskelbtą 1715 m., Richardsonas sukūrė pagrindinį angliško meno pagrindą, siekdamas pakelti dažytojų statusą iš paprastų amatininkų į gerbiamus intelektualus. Šis traktatas ne tik aprašė techniką; jis tyrė pačią grožio prigmenį, išradingumo svarbą ir moralinę menininko vizijos svorį. Jo rašai veikė kaip tiltas tarp senųjų meistrų tradicijų ir augančios nacionalinės Britų meno tapatybės, sukuriant diskursą, kuris rezonuodavo daugybę kartų.
Richardsono intelektualinio darbo istorinė reikšmė yra neįvertinjamą, nes jam dažnai priskreniamas meno kelionės įkvėlimas Sir Joshua Reynolds. Nustatyęs teorinę portretų kalbą – tą, kuri pabrėždavo „didikį stilių“ ir charakterio svarbą – Richardsonas padėjo pagrindus Karališkajai akademijai ir meno mokymui Anglijos formalizavimui. Jo įtaka gali būti atpažintama per keliais pagrindinius jo palikimo stulpus:
Galiausiai, Jonathan Richardson Starsėsis išlieka monumentalia figūra, kurio įtampa jautama tiek tylo galia jo portretuose, tiek neblėstanti jo žodžių aidas. Jis buvo menininkas, kuris suprato, kad tapyti veidą reiškia mėginti suvokti sielą, o rašyti apie meną – apibrėžti tai, kaip tauta mato save. Jo gyvenimas yra įrodymas techninio meistriškumo ir gilaus filosofinio tyrimo derinimo galimai, užtikrinančiam jam vietą didžiųjų meistrų panteone.
