更新于 November 2026 · 基于我们的流行度评分排名（每件作品的搜索量、访问量及订单量） · 1201 件 喬治·羅姆尼 作品收录于我们的目录中
简而言之
在画廊看来，喬治·羅姆尼 最著名的作品是 Lady Hamilton as Circe (1782)，其原作现收藏于 伦敦 的 泰特美术馆。 Portrait of Emma Hart [later Lady Hamilton] as Miranda (1785) 与 Portrait of John Wesley (1789) 共同构成了那组令人过目不忘的艺术三部曲。 在我们的目录中，喬治·羅姆尼 共有 1,201 件作品，画廊为您精选了以下 100 件最著名的原作，并详细列出了每件作品的创作年份、馆藏机构及其独特之处。
George Romney's “Lady Hamilton as Circe,” painted in 1782, transcends mere portraiture; it embodies the spirit of Neoclassical art—a movement dedicated to reviving classical ideals of beauty and rationality. Housed within the Tate Gallery’s collection in London, this canvas offers a glimpse into a pivotal moment in British artistic history and illuminates the captivating allure of Emma Hamilton, Lord Nelson's mistress.
![Portrait of Emma Hart [later Lady Hamilton] as Miranda (1785) 由 喬治·羅姆尼](/media/artworks/images-full/68/3a/683a29e4f83e98338fc73936e4787728.jpg)
A single upward glance defines this oil sketch. The subject, Emma Hart, turns her face toward a light source from above, her eyes wide with a sense of longing or awe. Her dark, voluminous hair spills around her shoulders in thick, gestural strokes of deep brown and ochre. The skin of her forehead and chin catches the light, rendered in fleshy pinks and creams that emerge from a shadowed, textured…
The face of John Wesley emerges from a deep, atmospheric darkness. Light falls from the upper left, striking the high ridge of a brow and the soft texture of white hair. This illumination catches the crisp edge of a clerical collar, a bright white anchor against the heavy, earthy tones of his clothing. The eyes look directly forward, meeting the viewer with a steady, quiet gaze. Wrinkles trace paths across…
The air feels heavy with the scent of salt and the lingering sulfur of gunpowder. Vice-Admiral Sir Hyde Parker stands in the center of this unfolding drama, his presence a steady anchor against the chaos of the sea. He is dressed in his undress uniform, the dark fabric of his coat absorbing the light, contrasted sharply by the crisp white of his trim. His right hand rests upon an unbuckled…
In this oil on canvas from around 1782, we encounter Emma Hart transformed into the mythological figure Circe. The scene is set within a rugged, rocky landscape that recedes into deep shadows, creating an atmosphere of profound mystery. At the center of the composition, the figure dominates the foreground, her form illuminated by a strong light source from the upper left. This lighting casts heavy shadows across the terrain, emphasizing…
George Romney captures a moment of profound, quiet intellect in this portrait of Ralph Willett. The sitter is positioned in a thoughtful pose, resting his chin upon his hand—a gesture traditionally associated with wisdom and the pursuit of reason. This posture, combined with his steady, inward gaze, reflects the intellectual currents of the late 18th century. The composition is asymmetrical, with the subject seated on the right, looking toward the…
George Romney’s “Portrait of Mrs. Verelst,” painted in 1773, is more than merely a likeness; it’s a meticulously crafted window into the social and aesthetic sensibilities of Georgian England. Executed with remarkable sensitivity and technical skill, this portrait captures not just the physical appearance of its subject but also an underlying sense of quiet dignity and restrained elegance – hallmarks of Romney's distinctive style. The painting depicts Mrs. Verelst, a…
In the grand tapestry of eighteenth-century British portraiture, few images capture the delicate intersection of classical myth and human vulnerability as exquisitely as George Romney’s Emma Hart (1765–18 8), as Miranda. This captivating oil on canvas serves as a profound testament to the artist's ability to breathe life into both subject and story, presenting a woman of striking presence whose gaze seems to bridge the gap between the painted world…
A man sits anchored in an armchair, his presence defined by the heavy drape of a crimson coat. The fabric catches the light, revealing the subtle textures of fine wool and the structured lines of a gentleman's station. He wears a white wig, its pale curls framing a face marked by a mustache and a steady, direct gaze. There is a stillness in his posture, a quiet composure that suggests…
George Romney’s “Lady Hamilton as Circe,” painted in 1792, is more than just a portrait; it's an exquisitely crafted tableau vivant—a frozen moment brimming with narrative and psychological depth. This captivating work, now housed within the collections of the Frick Collection, offers a glimpse into the life of Emma Hart, later Lady Hamilton, a woman whose beauty, ambition, and scandalous affair with Lord Nelson captivated Regency England. Romney’s masterful handling…
Emma, Lady Hamilton1791 · USC Fisher Museum of Art
12
Charles Lennox, 3rd Duke of Richmond and Lennox国家肖像美术馆
13
John Robinson of Denston Hall, Suffolk1779 · 哈佛艺术博物馆
14
Portrait of Mary Rutledge Smith and Son Edward1786
15
William Sotheron, The Younger, of Darrington1788 · 旧金山美术馆
16
Portrait of Colin Dunlop of Garmyle1754
17
Sir William Hamilton1784
18
Portrait of a Man1759 · 耶鲁英国艺术中心
19
Madame de Genlis1792 · 旧金山美术馆
20
Portrait of the Willett Children1791 · 费城艺术博物馆
21
Peter Romney国家肖像美术馆
22
Wilson Gale-Braddyll1776 · 伯明翰艺术博物馆
23
Sarah Ley, Mrs Richard Tickell (1770–after 1817)1759 · Ascott House
24
Portrait of a Young Man at his Desk1795 · 施泰德美术馆
25
Emma Hart as The Spinstress1785 · English Heritage
26
Shute Barrington, Bishop of Durham1786
27
Portrait of Marianne Holbech1782 · 费城艺术博物馆
28
Mr. Forbes1780 · 国家美术馆
29
Portrait of Mrs. Finch1790 · 费城艺术博物馆
30
Portrait of a Gentleman1777
31
Lady in a Brown Robe1785 · 泰特美术馆
32
Major-General Sir Archibald Campbell1792
33
James Romney1760 · 耶鲁英国艺术中心
34
Edmund Law, Bishop of Carlisle1771 · 维多利亚州国立美术馆
35
James Clitherow (1731–1805)1780 · Boston Manor House
36
Colonel Clitherow1784 · 底特律艺术学院
37
John Flaxman Modeling the Bust of William Hayley1795 · 耶鲁英国艺术中心
38
Portrait of the Dentist Bartholomew Ruspini1800 · 斯泰恩斯博物馆艺术馆
39
Princess Anne Lady de la Pole1786 · 波士顿美术馆
40
Portrait of Charlotte SmithAbbot Hall Art Gallery
41
Portrait of a woman1780 · Musée Cognacq-Jay
42
Elizabeth, Duchess-Countess of Sutherland1782 · 辛辛那提艺术博物馆
43
Miss Clavering1782 · 底特律艺术学院
44
Mrs James Carmichael Smyth, died 18031789 · 苏格兰国家肖像画廊
45
Mary Hyde (née Foxcroft)1767 · 耶鲁英国艺术中心
46
Lady Altamont1788 · 泰特美术馆
47
身为维斯塔贞女的海米尔顿夫人1800 · English Heritage
48
Portrait of Colin MacKenzie1777 · 明尼阿波利斯艺术学院
49
Portrait of the Honorable Mrs. Beresford1785 · 费城艺术博物馆
50
Portrait of Mrs. Tickell1792 · 费城艺术博物馆
51
Portrait of Sir John Reade1788 · 费城艺术博物馆
52
Lady Hamilton as Tragedy1791 · 哈佛艺术博物馆
53
Niobid
54
Mrs Siddons1784 · 阿什莫利博物馆
55
The Hartley Children1783 · 底特律艺术学院
56
Sarah Phipps (née Peckham)1780 · 耶鲁英国艺术中心
57
The Willet Children1800
58
Portrait of a Lady (probably Mrs James Collingwood)1765 · 沃克艺术馆
59
Sir John Orde1785 · 国立古美术馆
60
Portrait of Sir John Papillon Twisden, 7th Baronet1782
61
Catherine Clemens1788 · 新画廊
62
William Pitt the Younger1783 · 泰特美术馆
63
Portrait of Maria and Catherine, the Daughters of Edward Thurlow, 1st Baron Thurlow1783 · 耶鲁大学艺术馆
64
David Scott, Esq., of Dunniald1794 · 旧金山美术馆
65
Portrait of a Woman, Said to Be Emily Bertie Pott (died 1782)1781 · 大都会艺术博物馆
66
Thomas Paine1792 · 国家肖像美术馆
67
Esther Taubman, née Christian1786 · Manx Museum
68
Millicent Watson1750 · 休斯顿美术馆
69
Mrs. Henry Ainslie with her child1750
70
Elizabeth, Lady Blunt1764 · 休斯顿美术馆
71
Portrait of Mrs. Dawes1765
72
Portrait of an Adolescent1775 · Musée des Beaux-Arts de Pau
73
Portrait of a Lady1770 · 爱尔兰国家美术馆
74
Mrs Ellen Morewood1770
75
Ann Wilson (née Harrison) and Her Daughter, Sybill1776 · 耶鲁英国艺术中心
76
Portrait of Jane Dawkes Robinson印第安纳波利斯艺术博物馆
77
Portrait of a flag officer1767
78
Ann Verelst (1751–1823)1772
79
Thomas Rackett the Younger (1756–1840)1768
80
Henrietta, Countess of Warwick, and Her Children1787 · 弗里克收藏
81
Major Archibald Robertson of Lawers1782 · Museum of Fine Arts, St. Petersburg, Florida, USA
82
Portrait of Mrs. Richard Thompson1780
83
Robert Child (1739 - 1782)1781 · Osterley Park And House
84
Mrs. Richard Pryce Corbet and Her Daughter Mary1783 · 辛辛那提艺术博物馆
85
Mary and Louise Kent1785 · 辛辛那提艺术博物馆
86
William Chafyn Grove (1731–1793)1780 · 波士顿美术馆
87
Miss Frances Mary Harford1780 · 弗里克收藏
88
Portrait of Emma Hart, later Lady Hamilton1784 · 波士顿美术馆
89
Portrait of Sir Thomas Frankland, 6th Baronet (1750–1831)1777
90
Henry Cruger (1739–1827)1782 · 纽约历史学会
91
Portrait of Mr. Edmund Poulter1780 · 柏林国家美术馆
92
Lady Hamilton as St Cecilia1785
93
The Right Honourable Charles Philip Yorke (1764–1834)1782 · 奥克兰美术馆 Toi o Tāmaki
94
Miss Frances Mary Harford1780
95
Joseph Allen (1713–1796)1778 · 达尔威奇画廊
96
Sir Henry Bayly (1744–1812), 3rd Bt, 9th Baron Paget, Later 1st Earl of Uxbridge of the Second Creation, Holding Copper Ore from the Mona Mine1785
97
Thomas Rackett the Elder (c.1725–1799)1776
98
The Infant Shakespeare Attended by Nature and the Passions1786 · Vanderbilt Museum of Art
99
Titania, Puck and the Changeling, from Shakespeare's 'A Midsummer Night's Dream'1793 · 爱尔兰国家美术馆
100
Portrait of Mary Tighe (1747-1791), Poet1795 · 爱尔兰国家美术馆
这些原作中反复出现的四个主题，各有一个最杰出的范例。
收藏了本页中大部分画作的 8 家博物馆。
| 博物馆 | 城市 | 喬治·羅姆尼 的作品 | 此列表中的画作 |
|---|---|---|---|
 费城艺术博物馆 |
费城 | 12 | Portrait of Emma Hart [later Lady Hamilton] as Miranda, Portrait of John Wesley, Portrait of the Willett Children |
 耶鲁英国艺术中心 |
纽黑文 | 10 | Portrait of a Man, James Romney, John Flaxman Modeling the Bust of William Hayley |
 泰特美术馆 |
伦敦 | 16 | Lady Hamilton as Circe, Lady in a Brown Robe, Lady Altamont |
 国家肖像美术馆 |
伦敦 | 17 | Charles Lennox, 3rd Duke of Richmond and Lennox, Peter Romney, Thomas Paine |
 波士顿美术馆 |
波士顿 | 7 | Princess Anne Lady de la Pole, William Chafyn Grove (1731–1793), Portrait of Emma Hart, later Lady Hamilton |
 爱尔兰国家美术馆 |
都柏林 | 5 | Portrait of a Lady, Titania, Puck and the Changeling, from Shakespeare's 'A Midsummer Night's Dream', Portrait of Mary Tighe (1747-1791), Poet |
 弗里克收藏 |
紐約市 | 4 | Lady Hamilton as, Henrietta, Countess of Warwick, and Her Children, Miss Frances Mary Harford |
 旧金山美术馆 |
旧金山 | 4 | William Sotheron, The Younger, of Darrington, Madame de Genlis, David Scott, Esq., of Dunniald |
选择一个年代，探索定义该时代的原创杰作。
The Portrait of Colin Dunlop of Garmyle is a significant oil on canvas by the British artist George Romney. Painted in 1754, this work captures a man of considerable local influence during the mid-eighteenth century. The subject is identified as Colin Dunlop of Carmyle, who held the position of Provost of Glasgow. This portrait offers a glimpse into the social standing of a prominent figure from that era.
The Composition and Subject of James Romney James Romney is an oil portrait from 1760, presented in an oval vignette format. The subject is a young man shown in a close-up bust view, focusing on the face and upper torso. He maintains a calm, neutral expression, looking toward the viewer with a sense of poise. His attire consists of a teal or cerulean blue coat and a crisp white cravat.…
George Romney’s “Portrait of Mrs. Verelst,” painted in 1773, is more than merely a likeness; it’s a meticulously crafted window into the social and aesthetic sensibilities of Georgian England. Executed with remarkable sensitivity and technical skill, this portrait captures not just the physical appearance of its subject but also an underlying sense of quiet dignity and restrained elegance – hallmarks of Romney's distinctive style. The painting depicts Mrs. Verelst, a…
George Romney's “Lady Hamilton as Circe,” painted in 1782, transcends mere portraiture; it embodies the spirit of Neoclassical art—a movement dedicated to reviving classical ideals of beauty and rationality. Housed within the Tate Gallery’s collection in London, this canvas offers a glimpse into a pivotal moment in British artistic history and illuminates the captivating allure of Emma Hamilton, Lord Nelson's mistress.
In the soft, luminous glow of George Romney’s 1791 masterpiece, Emma, Lady Hamilton, we encounter more than just a portrait; we enter a profound psychological landscape. This captivating work depicts one of the most magnetic figures of the Regency era, capturing Emma not merely as a socialite, but as a woman of deep introspection. As her gaze drifts toward an unseen horizon, the viewer is drawn into a contemplative silence,…
George Romney captures a moment of profound, quiet intellect in this portrait of Ralph Willett. The sitter is positioned in a thoughtful pose, resting his chin upon his hand—a gesture traditionally associated with wisdom and the pursuit of reason. This posture, combined with his steady, inward gaze, reflects the intellectual currents of the late 18th century. The composition is asymmetrical, with the subject seated on the right, looking toward the…
Lady Hamilton as Circe (1782)，泰特美术馆, 伦敦。紧随其后的是 Portrait of Emma Hart [later Lady Hamilton] as Miranda (1785) 和 Portrait of John Wesley (1789)。
48岁：Lady Hamilton as Circe创作于1782年，喬治·羅姆尼出生于1734年。
Lady Hamilton as Circe, Portrait of Emma Hart [later Lady Hamilton] as Miranda, Portrait of John Wesley, Portrait of Vice-Admiral Sir Hyde Parker, 5th Baronet, Emma Hart (c.1765–1815), Lady Hamilton, as Circe, Portrait of Ralph Willett, Portrait of Mrs. Verelst, Emma Hart (1765–1815), as Miranda, Sir Thomas Rumbold (1736–1791), Bt 及 Lady Hamilton as。上方排名显示了每件作品的创作年份及馆藏机构。
我们的目录收录了 1,201 件 喬治·羅姆尼 的作品，创作年代从 1750 年至 1800 年。
多见于 费城艺术博物馆 (费城), 耶鲁英国艺术中心 (纽黑文) 及 泰特美术馆 (伦敦)。上方的博物馆列表列出了所有相关机构。
在 1780s 期间：本页 100 件作品中有 51 件创作于该时期，其中包含 Lady Hamilton as Circe 件作品。
在本页面中，最早的作品创作于 Millicent Watson (1750)，最晚的创作于 Portrait of Ralph Willett (1800)。
Woman (29), Man (29) 及 Portraiture (24)，共计 100 件作品。
Oil On Canvas，共计 90 件（本页共有 100 件作品）。
根据本页面的原作，新古典主义
Portrait of Emma Hart [later Lady Hamilton] as Miranda, Portrait of John Wesley 及 Portrait of the Willett Children：费城艺术博物馆, 费城收藏了本页中 8 件作品。
1734年12月26日，乔治·罗密欧出生于兰开夏郡达尔顿镇的贝克斯赛德，他降生在一个充满实用手工艺气息的世界里。作为家具匠约翰·罗密欧与安妮·辛普森十一个孩子中的第三子，他的童年岁月被英格兰西北部大家庭的日常节奏所塑造。虽然他在附近的丹德伦接受过学校教育，但正式的学业时光十分短暂。年仅十一岁时，他便离开了校园，进入父亲的家具作坊开始学徒生涯。
父亲手艺中对精准度的极致追求，或许在潜移默化中培养了他日后对细节的敏锐洞察力，然而他内心的向往却更倾向于具象的艺术表达。一位当地钟表匠点燃了他对素描的最初兴趣，这股力量悄然将他从木工工具的喧嚣中引向了另一种创作可能。这份初露锋芒的天赋最终引领他走出家具作坊，踏上了肖像画研究之路。为了精进技艺，他寻访了常驻肯德尔的流浪肖像画家 克里斯托弗·斯蒂尔。在斯蒂尔的指导下，罗密欧开始完成从一名手工艺学徒向人体形态研究者的华丽蜕变。
到了1762年，乔治·罗密欧已离开了兰开夏郡的北方风光，投身于竞争激烈的伦敦。他来到这座大都市，不仅是为了寻求财富，更是为了赢得认可，那份雄心壮志早已超越了他早年的学徒训练。对于一名初来乍到的新人而言，伦敦无疑是一个充满挑战的熔炉，但他却能以一种天然的从容，游刃有成地穿梭于复杂的社交圈层之中。他迅速确立了自己作为一名技艺精湛的肖像画家的地位，在主导那个时代审美趣味的上流社会中，为自己赢得了一席之地。
他的崛起伴随着与那个时代最杰出人物的直接竞争，其中包括 托马斯·盖因斯伯爵 和 乔苏亚·雷诺尔德。尽管这些同辈艺术家拥有举足轻重的地位，但乔治·罗密欧却为自己开辟出了一片独特的艺术天地。他成为了18世纪后期最受欢迎的英国肖像画家之一，其作品既受到新兴资产阶级的青睐，也深受传统贵族的推崇。在乔治时代不断变迁的社会等级制度中，他凭借敏锐的社交直觉，确保了自己在当时最时尚的沙龙中始终占据一席之地。
乔治·罗密欧在画布上的表现，在于一种细腻的细节刻画与富有表现力的笔触之间达成的微妙平衡。他青睐一种精致的技法，刻意避开了同时代艺术家中常见的厚重感，转而采用柔和的笔触，营造出一种温婉的写实感。这种手法使他能够以一种静谧而高雅的姿态，呈现出织物纹理与肌肤质感的细微差别。他的色调往往依赖于柔和的色彩，这为他的构图增添了一种沉稳与从容的氛围。他并不依赖戏剧化的矫饰，而是试图通过对人类心理的敏锐洞察来捕捉受画者的本质，这种特质在他笔下那些细腻传神的神情中得到了完美的体现。
他的技术造诣极其广泛，早已超越了完成后的油画范畴。作为一位高产的素描大师，他善于利用草图、底稿甚至是微小的缩略研究来构思他的创意。这种严谨的练习习惯，使他能够在投入大规模创作之前，对形式与光影进行充分的实验。他将这些初步研究转化为精美肖像的能力，帮助他在竞争激烈的伦敦社交界游刃有余，在那里，他经常受邀为那个时代的领军人物进行写实且优雅的画像。
当乔治·罗密欧遇见艾玛·哈特时，他艺术创作的轨迹发生了深刻的转折。这位后来被称为哈密尔顿夫人的女性，绝不仅仅是他笔下频繁出现的模特，她更是他最负盛名的缪斯，以一种强大的力量激发着他的想象力。两人的关系炽热而令人沉醉，这种情感纽带深刻地影响了艺术家的个人生活及其创作重心。正是通过她，罗密欧找到了一条突破传统肖像画束缚的路径，从而步入了更加充满想象力与诗意的艺术领域。
在艾玛的灵感感召下，罗密欧创作了一系列以莎士比亚及其他奇幻主题为题材的作品。这些作品让他得以探索幻想与文学叙事的深层主题，利用她丰富的表现力赋予戏剧人物鲜活的生命。他为她创作了超过80幅肖像画，每一次尝试都试图捕捉她性格中不同的侧面。在这一段紧密的合作期内，他开始尝试在构图与象征主义上进行大胆实验，逐渐向那些定义了他晚年艺术风格的、更具想象力与诗意的画布迈进。
在乔治·罗密欧生命的最后十年里，他开始逐渐淡出曾经助推其事业腾飞的社交圈。1794年，一场病痛开始严重限制他的肖像创作，使他那在巅峰时期引以为傲的丰沛产出变得迟缓。这种创作力的下降并非源于兴趣的消减，而是一场伴随他晚年岁月的身体苦战。这位曾经与乔治亚时代最显赫的人物并肩竞争的艺术家，最终发现自己正被日益衰弱的健康状况所边缘化。
到了1799年，寻求安宁已成为一种无可回避的必然。身体状况每况愈下的罗密欧回到了肯德尔，回到妻子莫莉的身边。这段在英格兰西北部的静养时光，如同为他那段穿梭于伦敦与巴黎繁忙艺术中心的辉煌人生，谱写了一段宁静的尾声。即便在承接大型委托的能力逐渐减退时，他依然保持着卓越的素描功底。1802年11月15日，罗密欧在英格兰西摩兰郡的肯德尔逝世。他的遗骸被安葬在达尔顿，最终回归了他出生时的那片土地。
乔治·罗密欧现存画作的分布，宛如一幅勾勒出他生命轨迹的地理长卷，从他北方的故土出发，最终延伸至他在首都建立的辉煌声望。在伦敦，他的艺术气息在 泰特美术馆 的馆藏中最为浓郁，那里珍藏着他的十七件杰作；而在 国家肖像画廊 中，亦有十件作品静候瞻仰。这些艺术殿堂向世人展示了这位艺术家处于社会影响力巅峰时期的风采，以其标志性的心理深度，捕捉着乔治亚时代那些鲜活的面孔。
除了伦敦，他在西北地区的生命印记依然清晰可见，这体现在肯德尔 阿博特厅美术馆 所收藏的九幅画作之中。这批藏品如同一条纽带，连接着他生命的起点与最终归于宁静的终点。乔治·罗密欧的影响力甚至跨越了大西洋，纽约 大都会艺术博物馆 也收藏了他的数件作品，其中便包括创作于1782年的 查洛纳·奥格尔爵士一世肖像画。
![Portrait of Emma Hart [later Lady Hamilton] as Miranda (1785) 由 喬治·羅姆尼](/media/artworks/images-thumb/d9/52/d9529a75a306936d6b7034684957c1e3.jpg)
