Ažurirano: октобар 2026 · rangirano prema našem koeficijentu popularnosti (pretrage, posete i porudžbine za svako delo) · 89 dela Džonatan Ričardson Stariji u našem katalogu
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Od svih originala koje je Džonatan Ričardson Stariji ostavio, najpoznatiji je Garton Orme at the Spinet (1707), koji se nalazi u kolekciji The Holburne Museum, Bat. Odmah za njima slede William Cheselden (1688–1752) (1730) i 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). Naš katalog sadrži 89 dela umetnika Džonatan Ričardson Stariji; galerija je čuvala 88 dela koja svet najviše admira, od kojih je svako prikazano sa svojim datumom, muzejom i pričom.
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 · Scottish National Portrait Gallery
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
Četiri teme koje se najčešće ponavljaju u ovim originalima, svaka sa svojim vrhunskim primerom.
#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 muzeja u kojima se nalazi najviše slika sa ove stranice.
| Muzej | Grad | Radovi umetnika Džonatan Ričardson Stariji | Slike iz ovog spiska |
|---|---|---|---|
 National Portrait Gallery |
London | 8 | Sir Richard Steele, Henry St John, 1st Viscount Bolingbroke, Sir William Wyndham, 3rd Bt |
 National Maritime Museum |
London | 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 |
London | 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 |
Birmingem | 2 | Josiah Bateman, Elizabeth, 1st Countess of Aylesford (d.1743) |
Izaberite deceniju da biste videli original koji je definiše.
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, Bat. Slede William Cheselden (1688–1752) (1730) i 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 godina: Garton Orme at the Spinet datira iz 1707, a Džonatan Ričardson Stariji je rođen/a 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) i Henry St John, 1st Viscount Bolingbroke. Gornji rang pokazuje godinu i muzej za svako od njih.
Naš katalog sadrži 89 dela umetnika Džonatan Ričardson Stariji, datiranih od 1693 do 1745.
Većinom u National Portrait Gallery (London), National Maritime Museum (London) i National Trust (Derby). Tabela muzeja iznad sadrži njih sve.
U 1730s: 14 od 88 dela na ovoj stranici nastalo je tada, od čega je William Cheselden (1688–1752).
Na ovoj stranici, najstarije delo je iz Lord Matthew Aylmer (c.1655–1720) (1693), a najnovije iz Sir James Burrow (1701–1782), Editor of Law Reports (1745).
18th century (13), Portraiture (12) i Portrait (7), kroz svih 88 dela na ovoj stranici.
Oil On Canvas, za 11 od 88 dela na ovoj stranici.
Neoclassicism i Baroque, sudeći po originalima na ovoj stranici.
Sir Richard Steele, Henry St John, 1st Viscount Bolingbroke i Sir William Wyndham, 3rd Bt: National Portrait Gallery, London čuva 8 dela sa ove stranice.
U veličanstvenom tapisu britanske umetnosti osamnaestog veka, malo je niti onoliko intelektualno dubokih ili vizuelno trajnih kao onih koje je tkao Džonatan Ričardson Stariji. Rođen u londonskoj parohiji Sent Botolf 12. januara 1667. godine, Ričardsonov put bio je oblikovan kako ličnim nedaćama, tako i izuzetnom intelektualnom radoznalošću. Nakon prevremnog gubitka oca, Vilijama Ričardsona, mladi umetnik se našao pod starateljstvom očuha, ali upravo je kroz formalnu obuku pisara počeo da usavršava preciznost koja će kasnije definisati njegov potez četkicom. Prava metamorfoza dogodila se kada je ušao u krugove Džona Rajlija, cenjenog savremenika čiji je studio služio kao ognjište za Ričardsonov rastući talenat. Ovaj period obuke nije mu naučio samo mehanici slikanja; on ga je uronio u svet u kojem portret nije bio samo zapis sličnosti, već duboko istraživanje karaktera i društvenog statusa.
Kako je njegova karijera cvatala, Ričardson se izdvojio kao slikar izuzetnog značaja, izdvajajući nišu koja je balansirala između formalnih zahteva aristokratskog pokroviteljstva i duboko lične, psihološke dubine. Njegova dela su često izbegavala uesnačka, teatralna preuveličavanja koja su bila uobičajena u nekim baroknim krugovima, birajući umesto toga suzdrženu eleganciju i majstorstvo u suptilnim tonalnim gradacijama. Pod uticajem dramatičnog kjaroskura Rembrandta i pedantnog posmatranja koje se sreće u delima kasnijih majstora poput Rajta iz Derbija, Ričardson je posedovao jedinstvenu sposobnost da uhvati tiho dostojanstvo svojih subjekata. Bilo da je prikazivao intelektualnu težinu Ričarda Hejla ili spokojnu, naučnu atmosferu koja je okruživala Metjua Prajora, njegova platna su služila kao prozori u duh prosvetiteljstva, dajući prednost preciznosti i evokativnom osećaju prisutnosti ispred puke ornamentike.
Iako su njegovi portreti i dalje cenjeni zbog svoje estetske gracilnosti, najtrajniji doprinos Ričardsona svetu umetnosti leži u njegovoj ulozi pionira umetničke teorije. Bio je mnogo više od praktičara zanata; bio je njegov najjasniji filozof. Kroz svoje ključno delo, Esej o slikarstvu, objavljeno 1715. godine, Ričardson je pružio temeljni okvir za englesku umetnost koji je težio da uzdigne status slikara iz običnih zanatlija u poštovane intelektualce. Ovaj traktat nije razmatrao samo tehniku; istraživao je samu prirodu lepote, važnost iznalaženja novih ideja i moralnu težinu umetničke vizije. Njegovi spisi delovali su kao most između tradicija starih majstora i rastućeg nacionalnog identiteta britanske umetnosti, stvarajući diskurs koji će odjekivati generacijama.
Istorijski značaj Ričardsonovog intelektualnog rada ne može se preceniti, jer se široko smatra da je on pokrenuo umetnički put koji je započeo Ser Džošua Rejnold. Uspostavljanjem teorijskog rečnika za portretnu sliku — onog koji je naglašavao "veličanstveni stil" i važnost karaktera — Ričardson je postavio temelje za Kraljevsku akademiju i formalizaciju umetničkog obrazovanja u Engleskoj. Njegov uticaj se može pratiti kroz nekoliko ključnih stubova njegovog nasleđa:
Na kraju, Džonatan Ričardson Stariji ostaje monumentalna figura čiji se uticaj oseća i u tihoj moći njegovih portreta i u trajnom odjeku njegovih reči. Bio je umetnik koji je razumeo da je slikati lice pokušaj hvatanja duše, a pisati o umetnosti definisanje načina na koji jedna nacija vidi samu sebe. Njegov život stoji kao svedočanstvo o moći spajanja tehničkog majstorstva sa dubokim filozofskim istraživanjem, osiguravajući mu mesto u panteonu Velikih majstora.
