Actualizat Octombrie 2026 · clasat în funcție de scorul nostru de popularitate (căutări, vizite și comenzi pentru fiecare operă) · 89 lucrări ale lui Jonathan Richardson Cel Tânăr în catalogul nostru
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Dintre toate originalele lăsate de Jonathan Richardson Cel Tânăr, cea mai faimoasă este Garton Orme at the Spinet (1707), din colecția The Holburne Museum, Bath. Imediat după acestea urmează William Cheselden (1688–1752) (1730) și 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). Catalogul nostru cuprinde 89 lucrări ale lui Jonathan Richardson Cel Tânăr; galeria a păstrat cele 88 pe care lumea le admiră cel mai mult, fiecare fiind prezentată împreună cu data, muzeul și povestea sa.
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 · Galeria Națională a Scottei
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)Trustul Național al Proprietăților Istorice din Marea Britanie
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, PoliticianColegiul St John the Evangelist din 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 pentru Cambridge Universitate (1695–1698)Trinity Hall
Cele patru teme care revin cel mai des în aceste opere originale, fiecare având cel mai sublim exemplu.
#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)
Cele 8 muzee care dețin cele mai multe dintre picturile de pe această pagină.
| Muzee | Oraș | Lucrări lui Jonathan Richardson Cel Tânăr | Picturi din această listă |
|---|---|---|---|
 National Portrait Gallery |
Londra | 8 | Sir Richard Steele, Henry St John, 1st Viscount Bolingbroke, Sir William Wyndham, 3rd Bt |
 National Maritime Museum |
Londra | 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 |
Londra | 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) |
Alege o deceniu pentru a descoperi opera originală care îl definește.
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. Urmează William Cheselden (1688–1752) (1730) și 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 ani: Garton Orme at the Spinet datează din 1707, iar Jonathan Richardson Cel Tânăr s-a născut în 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) și Henry St John, 1st Viscount Bolingbroke. Clasamentul de mai sus indică anul și muzeul pentru fiecare piesă.
Catalogul nostru cuprinde 89 lucrări ale lui Jonathan Richardson Cel Tânăr, datate între 1693 și 1745.
În principal în National Portrait Gallery (Londra), National Maritime Museum (Londra) și National Trust (Derby). Tabelul cu muzee de mai sus le enumeră pe toate.
În 1730s: 14 dintre cele 88 lucrări de pe această pagină au fost realizate atunci, fiind William Cheselden (1688–1752) dintre acestea.
Pe această pagină, cea mai veche lucrare datează din Lord Matthew Aylmer (c.1655–1720) (1693), iar cea mai recentă este din Sir James Burrow (1701–1782), Editor of Law Reports (1745).
18th century (13), Portraiture (12) și Portrait (7), din cele 88 lucrări de pe această pagină.
Oil On Canvas, pentru 11 dintre cele 88 lucrări de pe această pagină.
Neoclassicism și Baroque, judecând după originalele de pe această pagină.
Sir Richard Steele, Henry St John, 1st Viscount Bolingbroke și Sir William Wyndham, 3rd Bt: National Portrait Gallery, Londra deține 8 dintre lucrările de pe această pagină.
În marea tapiserie a artei britanice din secolul al XVIII-lea, puține fire sunt atât de profund intelectuale sau vizual de durabile precum cele țesute de Jonathan Richardson Cel Tânăr. Născut în parohia St. Botolph din Londra, pe 12 ianuarie 1667, călătoria lui Richardson a fost una modelată atât de suferințe personale, cât și de o curiozitate intelectuală extraordinară. În urma pierderii premature a tatălui său, William Richardson, tânărul artist s-a aflat sub îndrumarea unui tată vitreg, însă prin ucenicia formală de scriitor a început să își perfecționeze precizia care avea să îi definească ulterior brushwork-ul. Veritabila sa metamorfoză a avut loc atunci când a intrat în orbita lui John Riley, un contemporan respectat a cărui atelier a servit ca un creuzet pentru talentul aflat în dezvoltare al lui Richardson. Această perioadă de instruire i-a oferit mai mult decât mecanica picturii; l-a imersat într-o lume în care portretul nu era doar o înregistrare a asemănării, ci o explorare profundă a caracterului și a statutului social.
Pe măsură ce cariera sa a înflorit, Richardson a apărut ca un pictor de o distincție remarcabilă, ocupând un loc de nișă care echilibra cerințele formale ale patronajului aristocratic cu o profunzime psihologică profund personală. Opera sa a evitat adesea flamboyantele și teatralele accente comune în unele cercuri baroce, optând în schimb pentru o eleganță discretă și o stăpânire a gradațiilor tonale subtile. Influențat de chiaroscuro-ul dramatic al lui Rembrandt și de observația meticuloasă întâlnită în lucrările unor maeștri ulteriori, precum Wright of Derby, Richardson poseda o abilitate unică de a surprinde demnitatea liniștită a subiectelor sale. Fie că surprindea gravitatea intelectuală a lui Richard Hale sau atmosfera sobră și erudită care îl înconjoa pe Matthew Prior, pânzele sale servau drept ferestre către spiritul Iluminismului, prioritizând acuratețea și un simț evocator al prezenței în detrimentul simplei ornamentări.
Deși portretele sale rămân prețuite pentru grația lor estetică, cea mai durabilă contribuție a lui Richardson la lumea artei rezidă în rolul său de pionier al teoriei artei. El a fost mult mai mult decât un simplu practicant al meseriei; a fost cel mai articulat filosof al acesteia. Prin lucrarea sa seminală, An Essay on Painting, publicată în 1715, Richardson a oferit un cadru fundamental pentru arta engleză, căutând să ridice statutul pictorilor de la simpli artizani la intelectuali respectați. Acest tratat nu discuta doar tehnica; el explora însăși natura frumuseții, importanța invenției și greutatea morală a viziunii artistice. Scrierile sale au acționat ca o punte între tradițiile Maștrilor Vechi și identitatea națională emergentă a artei britanice, creând un discurs care avea să rezoneze pentru generații întregi.
Importanța istorică a muncii intelectuale a lui Richardson nu poate fi exagerată, fiind recunoscut pe scară largă ca cel care a declanșat călătoria artistică a lui Sir Joshua Reynolds. Stabilind un vocabular teoretic pentru portret, unul care enfatiza "stilul grandios" și importanța caracterului, Richardson a pus bazele Academiei Royale și a formalizării educației artistice în Anglia. Influența sa poate fi urmărită prin mai mulți piloni cheie ai moștenirii sale:
În cele din urmă, Jonathan Richardson Cel Tânăr rămâne o figură monumentală a cărei impact se simte atât în puterea tăcută a portretelor sale, cât și în rezonanța durabilă a cuvintelor sale. A fost un artist care a înțeles că a picta un chip însemna a încerca să surprinzi un suflet, iar a scrie despre artă însemna a defini modul în care o națiune se vede pe sine. Viața sa stă ca o mărturie a puterii de a combina măiestria tehnică cu o profundă cercetare filosofică, asigurându-și locul în panteonul Marilor Maștri.
