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The Death of General James Wolfe (1727-1759) (after Benjamin West PRA)
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George Roth, 1739 – 1821
George Roth: 1 nejznámějších obrazů
Z všech obrazů autora George Roth je nejznámější dílo The Death of General James Wolfe (1727-1759) (after Benjamin West PRA) (1784); visí v Quebec House, Westerham. Z 1 děl umělce George Roth v našem katalogu je těchto 1 nejuznávanějších, z nichž každé je uvedeno s datem vzniku, muzeem a příběhem.
Seřazeno podle našeho skóre popularity, které kombinuje počet vyhledávání, návštěv a objednávek u každého díla. Aktualizováno říjen 2026. Každý obraz na této stránce lze objednat jako ručně malovanou olejovou reprodukci na lněném plátně, nebo jako umělecký tisk vyrobený v požadovaném rozměru.
- Narozen · zemřel
- 1739 – 1821
- Díla v našem katalogu
- 1
- Nejslavnější
- The Death of General James Wolfe (1727-1759) (after Benjamin West PRA) (1784)
- Nejvíce děl v
- Quebec House
10 nejslavnějších obrazů autora George Roth
Kde visí plátna umělce George Roth
Muzeum, které má v této kolekci nejvíce obrazů.
| Muzea | Město | Díla autora George Roth | Obrazy z tohoto seznamu |
|---|---|---|---|
 Quebec House |
Westerham | 1 | The Death of General James Wolfe (1727-1759) (after Benjamin West PRA) |
Rok od roku: nejuznávanější plátna umělce George Roth
Rok 1784 zahrnuje všechna plátna s datem vzniku od George Roth na této stránce: zde jsou, od těch nejslavnějších.
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The Death of General James Wolfe (1727-1759) (after Benjamin West PRA) (1784)
Kolik let bylo George Roth ve době vzniku díla The Death of General James Wolfe (1727-1759) (after Benjamin West PRA)?Přečtěte si odpověď
George Roth, narozen 1739, měl 45 let: dílo The Death of General James Wolfe (1727-1759) (after Benjamin West PRA) pochází z roku 1784.
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Většinou v Quebec House (Westerham); výše uvedený seznam obsahuje názvy jednotlivých muzeí a jejich pláten.
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George Roth: příběh malíře
The Lineage of a London Painter
George Roth was a man defined by his connections to the professional art circles of the eighteenth century. Born around 1739, he was the son of George Roth, an artist who worked under the direction of Allan Ramsay, specifically focusing on the rendering of drapery. This familial link provided a technical foundation that Roth carried into his own career. He did not merely exist in the shadow of his father; he established his own presence through a series of portraits and exhibitions that spanned the major hubs of British art life.
His professional footprint was not confined to a single city. He moved between the bustling atmosphere of London and the more refined setting of Bath. This mobility allowed him to access diverse markets and social circles. By the time he was exhibiting at the Society of Arts between 1771 and 1776, he had already carved out a niche as a reliable hand in the portraiture market. His work was a product of a specific era of British painting, where the ability to capture a sitter's likeness was the primary currency of the trade.
A Record of Commissions and Presence
The surviving evidence of Roth's output reveals a painter focused on the social realities of his time. His work was not about abstract concepts but about the people who formed the backbone of provincial and urban society. His commissions often centered on specific families, leaving behind a tangible record of their existence through oil and pigment.
- Portraits of the Beckwith and Webster families from Ipswich.
- A series of family portraits including William Healey and Sarah Burks, dated 1793.
- Works exhibited at the Society of Arts during the 1770s.
His connection to East Anglia is particularly evident in his subject matter. The presence of sitters from Ipswich and the involvement of related artists in Norwich and Great Yarmouth suggest a family network deeply embedded in the regional art scene. This was a professional dynasty, one where names like Roth were synonymous with the production of portraiture across several English counties.
The Final Years in Westminster
Roth's career concluded in the same urban environment that had facilitated his rise. He died in 1821, leaving behind a legacy tied to the practicalities of the portraitist's craft. He was buried at St Anne, Westminster, at the age of 82. His life reflects the steady, industrious nature of the eighteenth-century painter, a man whose value was measured by the accuracy of his likenesses and his ability to navigate the competitive art markets of London and Bath.