Copyright This work is in the public domain. Richard Westall died in 1836; copyright lasts 70 years after the artist’s death, so it ended in 1906.
In context
Edwin — Richard Westall
Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 71 at death.
Shaded: the lifetime of Richard Westall (1765–1836) every dated painting, decade by decade
First works: up to 1807 Main working years: 1807–1814 Late works: from 1814
Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them
This record has no exact year on file — using the artist's lifetime and the work's style, what decade would you guess?
Pick one work above: name two things it shares with this one, and one thing that's different.
More works to set beside this one: topimpressionists.com/en/art/similar/richard-westall-edwin-9DFTYK-en/
Measured from the image
Main colour
Phthalo Green #321709
Catalogued palette
These colours inside the artist’s whole palette Find other paintings by colour
The ten leading countries
Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.
Together these works take 85.0% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 100 works by this artist, of which 26 were looked at at least once. This painting ranks 10 of them, with 2.5% of that attention (100 visits). The same counts, month by month
Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.
Artist and museum
Born in Norwich, United Kingdom
Richard Westall, a name perhaps less immediately recognized than some of his contemporaries, nevertheless occupies a significant place within the tapestry of British art during the late 18th and early 19th centuries. Born in Reepham, Norfolk, in 1765, Westall’s journey was one shaped by both artistic ambition and the practicalities of a changing world. His early life was marked by financial hardship; his father's bankruptcy forcing a relocation to London where young Richard began an apprenticeship as a heraldic silver engraver in 1779. This initial training, though seemingly distant from the realm of painting, instilled within him a meticulous attention to detail and a foundational understanding of design principles that would later inform his work. It was through the encouragement of John Alefounder, however, that Westall’s true calling began to emerge – a path leading away from the engraver's tools and towards the vibrant possibilities of paint and canvas. His formal artistic education commenced at the Royal Academy School of Arts in 1785, a pivotal moment solidifying his commitment to a life dedicated to art. From that point forward, he became a consistent presence at the annual Royal Academy exhibitions, showcasing a dedication to his craft that spanned nearly half a century.
Westall’s artistic style was deeply rooted in the neoclassical aesthetic prevalent during his formative years. Clarity of form, balanced composition, and a reverence for classical themes characterized much of his early output. He quickly found opportunities to contribute to ambitious projects like John Boydell's Shakespeare Gallery and Henry Fuseli's Milton Gallery, creating scenes that brought literary narratives to life with dramatic flair. These works weren’t merely illustrations; they were carefully constructed paintings designed to evoke the emotional weight and intellectual depth of the original texts. He demonstrated a remarkable ability to translate the power of words into visual form, capturing pivotal moments from Shakespearean plays and Milton's epic poems with both technical skill and imaginative sensitivity. Beyond these grand projects, Westall’s illustrations for editions of works by Sir Walter Scott, Oliver Goldsmith, William Cowper, and Thomas Gray further cemented his reputation as a master interpreter of literary landscapes. His ability to distill the essence of a story into a single image was highly sought after, making him a favored collaborator among publishers and readers alike.
While Westall’s versatility extended across various genres, he is perhaps best remembered for his portraits, particularly those of the iconic Romantic poet Lord Byron. Their relationship was more than that of artist and sitter; it was a meeting of kindred spirits, marked by mutual respect and admiration. Byron himself greatly valued Westall's ability to capture not just physical likeness but also the inner intensity and intellectual depth that defined his persona. These portraits are notable for their realistic detail, dramatic lighting, and an almost palpable sense of psychological insight. Beyond Byron, Westall’s portraiture extended to other prominent figures of the era, solidifying his position as a sought-after artist within London society. This success was further underscored by a unique honor: he served as Queen Victoria's drawing master, a testament to his respected standing within artistic circles and his contribution to art education.
Richard Westall’s influence extended beyond the canvas and into the realm of artistic pedagogy. His election as an Associate, and later a full Academician, of the Royal Academy acknowledged his significant contributions to British art. He was influenced by masters like Jacques-Louis David, evident in his emphasis on clarity and order, yet he also absorbed elements from the burgeoning Romantic movement, infusing his work with dramatic intensity and emotional resonance. His paintings documented a pivotal period in British history, offering valuable visual records of events, personalities, and cultural trends. Works such as “John Milton and his Daughters,” housed at Sir John Soane's Museum, and his series depicting scenes from the life of Horatio Nelson at the National Maritime Museum stand as enduring testaments to his skill and historical awareness. He died in 1836, leaving behind a substantial body of work that continues to captivate viewers with its technical brilliance and evocative storytelling. His art remains a window into a bygone era, offering insights into the tastes, values, and intellectual currents of Regency Britain and beyond.
On show in Petworth, United Kingdom
Petworth House is a late 17th-century Grade I listed country house situated in the parish of Petworth, West Sussex, England. The current structure was built in 1688 by Charles Seymour, the 6th Duke of Somerset. This building replaced an earlier manor house and was designed to reflect the architectural ambitions of the era. The house served as the southern home for the Percy family, the earls of Northumberland, for many generations.
The ownership of the estate transitioned through several prominent families, including the Wyndham family. In 1947, Charles Wyndham, the 3rd Baron Leconfield, handed the house over to the nation. Since that time, the property has been managed by the National Trust as Petworth House & Park. The house remains a significant site for the preservation of the collections assembled by its former residents.
The current structure of Petworth House is a product of the late 17th century, having been rebuilt between 1688 and 1702. Designed in the Baroque style, the house was inspired by the grand palaces of Europe, emphasizing order and symmetry. This architectural character is further defined by the intricate wood-carvings of Grinling Gibbons, whose work remains integrated into the interior fabric. The house underwent significant alterations during the 1870s under the direction of the architect Anthony Salvin.
The interior spaces reflect various periods of architectural development and refinement. The North Gallery was added to the house between 1824 and 1825. In the Saloon, the floor is covered by an Axminster carpet featuring a design by Robert Adam. These elements contribute to the layered history of the building, where Baroque foundations meet later Victorian and Regency additions.
The collection comprises fine art spanning several centuries, held within the house in its original context. The assembly includes significant portraiture and works across various genres, from formal portraiture to landscape paintings. These holdings are integrated into the architectural fabric of the rooms, contributing to the established character of the interior spaces.
The grand state rooms contain works by artists such as Anthony van Dyck, J. M. W. Turner, Joshua Reynolds, and Thomas Gainsborough. The selection includes paintings by Titian and William Blake, alongside works by John Constable. These pieces remain largely in the rooms where they were once displayed alongside the furniture and decorative objects that accompanied them.
The Right Honourable George Grenville, 1767 - Joshua Reynolds
Macbeth and the Witches, 1786 - Joshua Reynolds
A Vision of the Last Judgment, 1808 - William Blake
Cattle at a Fountain, 1786 - Thomas Gainsborough
Jessica, 1828 - J. M. W. Turner
An Unknown Cardinal, 1545 - Titian
The assembly of paintings within the house reflects the long-standing patronage of the Northumberland and Seymour/Somerset families. Significant portraiture by Anthony van Dyck is integrated into the architectural fabric of the rooms, including depictions of King Charles I on horseback and Lady Dorothy Percy. These works remain in their original context, preserved alongside the furniture and decorative objects that once accompanied them. Titian is also represented by works such as an unknown cardinal and an unknown man in a black plumed hat.
The landscape and figurative traditions are represented by several key artists. Thomas Gainsborough’s Rocky Wooded Landscape with Rustic Lovers by a Pool, painted about 1774–1777, was acquired by the 3rd Earl of Egremont. J. M. W. Turner’s landscapes are also held here, many of which were inspired by the views within the surrounding parkland. Joshua Reynolds contributed several portraits to the collection, including Macbeth and the Witches and Charity. The collection also contains works by William Blake, such as A Vision of the Last Judgment.
The Right Honourable George Grenville, 1767 - Joshua Reynolds
Cattle at a Fountain, 1786 - Thomas Gainsborough
Jessica, 1828 - J. M. W. Turner
A Scene from 'The Wife of Bath's Tale', 1812 - Henry Fuseli
The 700-acre deer park surrounding the house was landscaped by Capability Brown. This landscape was later immortalised in the paintings of J. M. W. Turner. The terrain features a 12-acre woodland garden known as the Pleasure Ground. Within these grounds, visitors may find a Doric temple and an Ionic rotunda.
A large herd of fallow deer inhabits the parkland. There are over 700 fallow deer to observe across the estate. The parkland remains a central feature of the Petworth landscape.
topimpressionists.com/en/art/download/richard-westall-edwin-9DFTYK-en/
Look closely
Edwin — Richard Westall
Answer in your own words. There are no wrong answers here — only answers you can explain.
Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.
The X-Ray page of "Edwin" by Richard Westall is an interactive viewer that lets you slide through eleven optical layers of the artwork's image, including an X-ray style view.
"Edwin" by Richard Westall is recorded with a clear color presence saturation and a balanced intensity.
You can see the original "Edwin" at the Petworth House, Petworth, United Kingdom.