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Из всех оригинальных работ, оставленных Натаниэль Хон Старший, самой известной является Portrait of a Gentleman (1769) из коллекции Yale Center for British Art, Нью-Хейвен. Сразу за ними следуют Portrait of a Lady (1750) и Self-Portrait with an Easel (1747). В нашем каталоге представлено 48 работ Натаниэль Хон Старший; галерея сохранила 34 самых почитаемых в мире произведений, каждое из которых сопровождается датой создания, информацией о музее и своей историей.
The Portrait of a Gentleman is a work by Nathaniel Hone the Elder. Created about 1769, this piece captures a formal likeness of an aristocratic or upper-class young man. The subject faces the viewer with a quiet, composed presence, held within the confines of a small, precious scale.
This highly detailed portrait miniature, dating from 1750, presents a formal and elegant depiction of a young woman from the mid-18th century. Housed within the rectangular lid of a decorative, dark tortoiseshell box, the artwork features a central oval portrait framed by a thin gold rim. The subject is shown in a close-up, bust-length view, focusing entirely on her features and adornments.
In this intimate oil painting, Self-Portrait with an Easel, the artist Nathaniel Hone the Elder captures himself in a quiet moment of reflection. The work emerges from 1747, a time when the painter is establishing his presence through the medium of portraiture. He presents himself not merely as a subject, but as a practitioner of his craft, leaning into the tools of his trade.
This 1759 portrait miniature presents a young woman in profile, facing toward the right. The subject is rendered with pale skin and a soft pink flush on the cheek. Her blue eyes are directed forward, and her dark hair is pulled back away from her face. A blue kerchief, decorated with subtle gold patterns, is tied around her head. This headwrap matches a blue garment draped over her shoulders. A…
This 1763 miniature presents a head-and-shoulders view of a man, captured in a delicate, oval-shaped format. The subject faces the viewer's right, though his gaze is directed back toward the observer, creating an immediate psychological connection. A dark, neutral background provides a sharp contrast to the subject, pushing the figure forward through a careful application of light. This illumination, originating from the upper left, casts soft shadows across the face…
The portrait miniature titled Unknown woman (NMB 737) captures a young woman in a quiet, oval-shaped moment. Painted by Nathaniel Hone the Elder, the work presents the subject from the chest up. It is a small window into the mid-eighteenth century, dating to about 1759. The sitter gazes forward with a serene expression, her presence held within the delicate confines of the format.
The Portrait of a Man is a work by Nathaniel Hone the Elder, dated 1760. This portrait depicts a young man presented from the chest up. The subject is positioned with his torso facing forward, though his head is turned slightly toward the viewer's left.
The portrait depicts a young boy, John Camillus Hone, positioned in a bust-length composition against a dark, near-black background. He is captured in a moment of quiet concentration, his gaze directed toward the wooden flute held to his lips. The lighting originates from the upper left, casting a soft shadow across the right side of his face and highlighting the bridge of his nose and his hands. This directional light…
The oil painting titled Portrait of a Boy (Horace Hone), Sketching was created by the Irish-born artist Nathaniel Hone the Elder. This work, dating from about 1766, captures a young boy in a moment of quiet concentration. The subject is shown engaged in the act of sketching, his attention fixed upon his task.
Portrait of a Lady1770 · Rhode Island School of Design Museum of Art
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Portrait of a Lady1766 · Yale Center for British Art
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Self Portrait1768
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Self-Portrait1780 · Национальная галерея Ирландии
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Portrait of a Gentleman1784 · Национальная галерея Ирландии
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Frances Cole (née Wager)1776 · Yale Center for British Art
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Benjamin Cole1776 · Yale Center for British Art
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Portrait of a Woman (called 'Anne Craster, d.1832')1784 · Bodleian Libraries
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David Colyear (1736–1756), Viscount Milsington1755 · National Trust
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Sir John Durbin (1734–1814)1757 · National Trust
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Nathaniel Curzon (1726–1804), 1st Baron Scarsdale, and His Wife Lady Caroline Colyear (1733–1812), Lady Scarsdale, Walking in the Grounds at Kedleston1761 · National Trust
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Charles Lee Lewes (1740–1803)1767 · The Barber Institute of Fine Arts
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John Wesley1766 · Национальная портретная галерея
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Bartholomew Ruspini (1728–1813), Chevalier, with Family1775 · The Royal College of Surgeons of Edinburgh
25
General Lloyd1773 · Фитцвильямский колледж
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Sir John Fielding1773 · Верховный суд Великобритании
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Kitty Fisher (d.1767)1784
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Portrait of a Lady in a Blue Dress, possibly Mrs Mary Barnardiston1779
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The Honourable Mrs Nathaniel Curzon1778 · Фитцвильямский колледж
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Self-PortraitНациональная галерея Ирландии
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Portrait of a Boy
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Portrait of a GentlemanTemple Newsam House
33
Mary Savile (1700–1751), Countess of ThanetAbbot Hall Art Gallery
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The Conjuror1775 · Национальная галерея Ирландии
Четыре темы, которые чаще всего встречаются в этих оригиналах, каждая из которых представлена своим лучшим образцом.
8 музеев, в которых находится большинство картин со страницы.
| Музей | Город | Работы Натаниэль Хон Старший | Картины из этого списка |
|---|---|---|---|
 Национальная галерея Ирландии |
Дублин | 7 | Self-Portrait with an Easel, A Piping Boy: John Camillus Hone (1759-1836), the Artist's Son, Portrait of a Boy (Horace Hone), Sketching |
 Yale Center for British Art |
Нью-Хейвен | 6 | Portrait of a Gentleman, Portrait of a Lady, Portrait of a Gentleman |
 Национальный музей Швеции |
Стокгольм | 2 | Self-portrait, Unknown woman (NMB 737) |
 National Trust |
Дерби | 2 | David Colyear (1736–1756), Viscount Milsington, Nathaniel Curzon (1726–1804), 1st Baron Scarsdale, and His Wife Lady Caroline Colyear (1733–1812), Lady Scarsdale, Walking in the Grounds at Kedleston |
 Фитцвильямский колледж |
Кембридж | 2 | General Lloyd, The Honourable Mrs Nathaniel Curzon |
 Musée Cognacq-Jay |
Париж | 1 | Portrait of a Young Woman with a Blue Kerchief |
 Метрополитен-музей |
Нью-Йорк | 1 | Portrait of a Man |
 Rhode Island School of Design Museum of Art |
Провиденс | 1 | Portrait of a Lady |
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In this intimate oil painting, Self-Portrait with an Easel, the artist Nathaniel Hone the Elder captures himself in a quiet moment of reflection. The work emerges from 1747, a time when the painter is establishing his presence through the medium of portraiture. He presents himself not merely as a subject, but as a practitioner of his craft, leaning into the tools of his trade.
This highly detailed portrait miniature, dating from 1750, presents a formal and elegant depiction of a young woman from the mid-18th century. Housed within the rectangular lid of a decorative, dark tortoiseshell box, the artwork features a central oval portrait framed by a thin gold rim. The subject is shown in a close-up, bust-length view, focusing entirely on her features and adornments.
The Portrait of a Gentleman is a work by Nathaniel Hone the Elder. Created about 1769, this piece captures a formal likeness of an aristocratic or upper-class young man. The subject faces the viewer with a quiet, composed presence, held within the confines of a small, precious scale.
The Portrait of a Lady by Nathaniel Hone the Elder brings a quiet presence into the room. Dating from about 1750, this work captures a female figure dressed in the elegant attire of the 18th century. She exists within a delicate, intimate scale, characteristic of the portrait miniature style from the Early Modern period. There is a sense of stillness in her gaze, as if she has just paused mid-motion…
A middle-aged man sits in a three-quarter length pose, his gaze fixed directly upon the viewer. He is positioned slightly to the left of the center, a figure of quiet composure against a receding landscape. He wears a brown coat over a yellow waistcoat, the fabric rendered with smooth, deliberate brushwork. A white cravat catches the light, bright against the warmer tones of his attire. To his left, the head…
Portrait of a Gentleman (1769), Yale Center for British Art, Нью-Хейвен. Далее следуют Portrait of a Lady (1750) и Self-Portrait with an Easel (1747).
51 лет: Portrait of a Gentleman датируется 1769 годом, а Натаниэль Хон Старший родился в 1718.
Portrait of a Gentleman, Portrait of a Lady, Self-Portrait with an Easel, Portrait of a Young Woman with a Blue Kerchief, Self-portrait, Unknown woman (NMB 737), Portrait of a Man, Portrait of a Gentleman, A Piping Boy: John Camillus Hone (1759-1836), the Artist's Son и Portrait of a Boy (Horace Hone), Sketching. В рейтинге выше указаны год создания и музей для каждой работы.
В нашем каталоге представлено 48 работ Натаниэль Хон Старший, созданных в период с 1747 по 1784.
В основном в Национальная галерея Ирландии (Дублин), Yale Center for British Art (Нью-Хейвен) и Национальный музей Швеции (Стокгольм). В таблице выше перечислены все музеи.
В 1760s: 11 из 34 работ на этой странице были созданы в этот период, Portrait of a Gentleman из них.
На этой странице самая ранняя работа датирована Self-Portrait with an Easel (1747), а самая поздняя — Portrait of a Gentleman (1784).
Man (9), Woman (7) и Dark background (7) в 34 работах на этой странице.
Watercolor, для 7 из 34 работ на этой странице.
Neoclassicism и Rococo, судя по оригиналам на этой странице.
Self-Portrait with an Easel, A Piping Boy: John Camillus Hone (1759-1836), the Artist's Son и Portrait of a Boy (Horace Hone), Sketching: в коллекции Национальная галерея Ирландии, Дублин находится 7 работ со страницы.
Годы становления мастера прошли в Дублине, где он перенимал опыт у Фрэнсиса Бэкона и Джонатана Ричардсона-старшего — двух выдающихся ирландских портретистов, проповедовавших драматичный, театральный стиль, уходящий корнями в иллюзионизм. Это влияние наложило глубокий отпечаток на манеру Хуна изображать людей, особенно аристократическую знать его времени, делая акцент на экспрессивных жестах и глубоком психологическом подтексте.
Важнейшим этапом его жизни стал парижский период (1740–1768), когда Хун погрузился в бурную интеллектуальную и художественную атмосферу эпохи Просвещения. Обучение у Жана-Симона Байи и Жака-Луи Давида позволило ему впитать принципы неоклассического идеализма и отточить техническое мастерство. Этот опыт, несомненно, расширил его стилистические горизонты, подготовив к новым открытиям.
Вернувшись в Лондон в 1768 году, Хун продолжил работу над портретами, но одновременно начал развивать самобытный пейзажный стиль, ставший своего рода протестом против господствовавшей академической традиции. Черпая вдохновение в работах Клода Лоррена и Гаспара Руаба, он обратился к техникам барбизонской школы, отдавая приоритет воздушной перспективе и тональной модуляции, чтобы передать всё величие и суровую красоту ирландской природы.
