Ažurirano: новембар 2026 · rangirano prema našem koeficijentu popularnosti (pretrage, posete i porudžbine za svako delo) · 48 dela Natanael Hon Stariji u našem katalogu
Ukratko
Od svih originala koje je Natanael Hon Stariji ostavio, najpoznatiji je Portrait of a Gentleman (1769), koji se nalazi u kolekciji Yale Center for British Art, New Haven. Odmah za njima slede Portrait of a Lady (1750) i Self-Portrait with an Easel (1747). Naš katalog sadrži 48 dela umetnika Natanael Hon Stariji; galerija je čuvala 34 dela koja svet najviše admira, od kojih je svako prikazano sa svojim datumom, muzejom i pričom.
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
12
Portrait of a Lady1766 · Yale Center for British Art
13
Self Portrait1768
14
Self-Portrait1780 · National Gallery of Ireland
15
Portrait of a Gentleman1784 · National Gallery of Ireland
16
Frances Cole (née Wager)1776 · Yale Center for British Art
17
Benjamin Cole1776 · Yale Center for British Art
18
Portrait of a Woman (called 'Anne Craster, d.1832')1784 · Bodleian Libraries
19
David Colyear (1736–1756), Viscount Milsington1755 · National Trust
20
Sir John Durbin (1734–1814)1757 · National Trust
21
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
22
Charles Lee Lewes (1740–1803)1767 · The Barber Institute of Fine Arts
23
John Wesley1766 · National Portrait Gallery
24
Bartholomew Ruspini (1728–1813), Chevalier, with Family1775 · The Royal College of Surgeons of Edinburgh
25
General Lloyd1773 · Fitzwilliam College
26
Sir John Fielding1773 · Vrhovni sud
27
Kitty Fisher (d.1767)1784
28
Portrait of a Lady in a Blue Dress, possibly Mrs Mary Barnardiston1779
29
The Honourable Mrs Nathaniel Curzon1778 · Fitzwilliam College
30
Self-PortraitNational Gallery of Ireland
31
Portrait of a Boy
32
Portrait of a GentlemanTemple Newsam House
33
Mary Savile (1700–1751), Countess of ThanetAbbot Hall Art Gallery
34
The Conjuror1775 · National Gallery of Ireland
Četiri teme koje se najčešće ponavljaju u ovim originalima, svaka sa svojim vrhunskim primerom.
8 muzeja u kojima se nalazi najviše slika sa ove stranice.
| Muzej | Grad | Radovi umetnika Natanael Hon Stariji | Slike iz ovog spiska |
|---|---|---|---|
 National Gallery of Ireland |
Dublin | 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 |
New Haven | 6 | Portrait of a Gentleman, Portrait of a Lady, Portrait of a Gentleman |
 Nationalmuseum |
Стокхолм | 2 | Self-portrait, Unknown woman (NMB 737) |
 National Trust |
Derby | 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 |
 Fitzwilliam College |
Cambridge | 2 | General Lloyd, The Honourable Mrs Nathaniel Curzon |
 Musée Cognacq-Jay |
Pariz | 1 | Portrait of a Young Woman with a Blue Kerchief |
 Metropoliten музеј у Њујорку |
Њујорк | 1 | Portrait of a Man |
 Rhode Island School of Design Museum of Art |
Providens | 1 | Portrait of a Lady |
Izaberite deceniju da biste videli original koji je definiše.
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, New Haven. Slede Portrait of a Lady (1750) i Self-Portrait with an Easel (1747).
51 godina: Portrait of a Gentleman datira iz 1769, a Natanael Hon Stariji je rođen/a 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 i Portrait of a Boy (Horace Hone), Sketching. Gornji rang pokazuje godinu i muzej za svako od njih.
Naš katalog sadrži 48 dela umetnika Natanael Hon Stariji, datiranih od 1747 do 1784.
Većinom u National Gallery of Ireland (Dublin), Yale Center for British Art (New Haven) i Nationalmuseum (Стокхолм). Tabela muzeja iznad sadrži njih sve.
U 1760s: 11 od 34 dela na ovoj stranici nastalo je tada, od čega je Portrait of a Gentleman.
Na ovoj stranici, najstarije delo je iz Self-Portrait with an Easel (1747), a najnovije iz Portrait of a Gentleman (1784).
Man (9), Woman (7) i Dark background (7), kroz svih 34 dela na ovoj stranici.
Watercolor, za 7 od 34 dela na ovoj stranici.
Neoclassicism i Rococo, sudeći po originalima na ovoj stranici.
Self-Portrait with an Easel, A Piping Boy: John Camillus Hone (1759-1836), the Artist's Son i Portrait of a Boy (Horace Hone), Sketching: National Gallery of Ireland, Dublin čuva 7 dela sa ove stranice.
Natanael Hon Stariji, rođen u Dablinu oko 1718. godine, predstavlja ključnu figuru u tranziciji između rokoko i neocentrističkih umetničkih pokreta. Njegov umetnički put protezao se kroz Irsku i London, ostavljajući za sobom nasleđe izuzetno detaljnih portreta, uporedo sa pejzažima prožetim specifičnim barbizonskim duhom—stilskim spojem koji je učvrstio njegovo mesto u širem kontekstu evropskog slikarstva osamnaestog veka.
Njegove formativne godine provedene su u Dablinu, gde je pod vaskrsnućem umetničkog znanja od Francisa Bejkona i Džonata Richardsona Mlađeg, dvojice istaknutih irskih portretista, stekao temelje svog zanata. Oni su zagovarali dramatičan, teatralni stil ukorenjen u iluzionizmu, što je duboko oblikovalo Honov pristup prikazivanju figura—naročito aristokratske klijentele njegovog vremena—naglašavajući ekspresivnu gestikulaciju i psihološki uvid.
Nakon toga, Hon je započeo transformativno razdoblje umetničkog razvoja u Parizu, potpuno se urinjući u živopisno intelektualno i umetničko okruženje Prosvetiteljstva. Studirajući pod mentorstvom Žan-Simona Bejija i Žaka-Luja Davida, on je upijao principe neoklasicističkog idealizma i usavršavao svoje tehničke veštine, što je nesumnjivo proširilo njegove stilske horizonte.
Povratak u London 1768. godine doneo je nastavak radova na portretima, ali je istovremeno bio i period kultivisanja autentičnog pejzažnog stila—reakcije protiv tadašnje prevladavale akademske tradicije. Crpeći inspiraciju iz dela Kloda Lorena i Gasparda Ruba, on je prihvatio barbizonsku tehniku, dajući prioritet atmosferskoj perspektivi i tonalnoj modulaciji kako bi dočarao veličinu irskog ruralnog predela.
Delo Natanaela Hona Starijeg obuhvata izuzetnu kolekciju portreta — od kojih su mnogi bili poručeni samim članovima britanske aristokratije — koji se odlikuju pedantnim detaljima i psihološkom nijansiranjem. Njegove interpretacije figura, kao što je „Poštovana gospođa Curzon“, oliodelečenje rokoko elegancije, koristeći pastelne nijanse i delikatnu ornamentiku kako bi dočarali aristokratski status. Istovremeno, Hone-ovi pejzaži — kao što je „Portret gospodina“ — demonstriraju njegovo majstorstvo u primeni barbazonskih principa, hvatajući sirovu lepotu Irsked sa prigušenim bojama i teksturiranim potezima četkice. On je vešto spajao iluzionističke tehnike sa tonalnim gradacijama, stvarajući slike koje odjekuju dubokom emocionalnom težinom.
„Poštovana gospođa Curzon” (1778): Ova minijatura prikazuje Hone-ov izuzetan dar u hvatanju suptilnosti izrazovita lica i držanja — što je zaštitni znak rokoko portretizma. Pastelna paleta doprinosi atmosferi rafinirane gracioznosti, odražavajući društvene konvencije tog doba.
„Portret gospodina” (oko 1770): Hone-ov prikaz gospodina exemplifikuje neoklaasicističke ideale kroz svoju suzdržanu kompoziciju i idealizovani prikaz. Umetnik vešto koristi tonalnu modulaciju kako bi preneo dostojanstvo i pribranost.
