Lady Hamilton as Circe (1782) on teos, millega George Romney on kõige tuntum; see kuulub museumi Tate Gallery, London. Portrait of Emma Hart [later Lady Hamilton] as Miranda (1785) ja Portrait of John Wesley (1789) täiendavad kõige armastatumate tablodeid moodustavat triooti. Meie kataloogis on 1,201 teost kunstnikult George Romney. Siin on 100 kõige kuulsamat koos aasta, muuseumi ja iga linate veebilehe loo kohta.
Reiting põhineb meie populaarsusindeksil, mis koondab iga teose otsingud, külastused ja tellimused. Uuendatud oktoober 2026. Iga selle lehekülje maali saab tellida kas linatele kangale käsitsi maalatuna nagu õlimaalide reproduktsiooni või valitud suuruses fine art trükkina.
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) autor George Romney](/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…
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…
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In the hallowed halls of the National Portrait Gallery in London, there exists a window into the soul of the British Enlightenment, captured through the masterful brush of…
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George Romney’s “Lady Hamilton as Nature,” painted in 1782, is more than simply a portrait; it’s an exquisitely rendered meditation on beauty, companionship, and the burgeoning Romantic sensibility…
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This 1779 oil portrait presents a bust-length view of John Robinson of Denston Hall, Suffolk. The subject is positioned in a three-quarter view, turned slightly away from the…
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The canvas holds a quiet moment from 1786, a pause in the life of Mary Rutledge Smith. She sits with her infant son, Edward, cradled against her. The…
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A young man meets the gaze of the observer with a quiet, steady confidence. He is positioned slightly off-center, his body turned toward the right while his eyes…
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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…
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In the masterful hands of George Romney, Sir William Hamilton emerges not merely as a portrait of a man, but as a profound window into the refined elegance…
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A man leans against a tree trunk, his silhouette defined by a deep blue frock coat and a crisp white waistcoat. He occupies the center of a landscape…
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The light enters from the upper left, a soft, directional glow that carves the subject out of a dark, indistinct void. Madame de Genlis is rendered in a…
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A Study in Youthful Form Three children are arranged in a stable triangular composition against a dark, atmospheric woodland. A boy stands to the left, his presence anchored…
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George Romney’s 1765 portrait, often referred to as “Unknown Man,” is far more than a simple likeness. It’s a carefully constructed tableau of Georgian society, brimming with subtle…
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A three-quarter view bust portrait captures a man positioned slightly off-center, his gaze averted toward the right of the frame. The subject is rendered with a quiet confidence,…
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To stand before this portrait is to step directly into the refined drawing rooms of late eighteenth-century England. George Romney, master chronicler of his age, has captured not…
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The Composition and Subject A young man occupies the center of this oil painting, positioned in a three-quarter profile view. He faces toward the left edge of the…
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To gaze upon George Romney's depiction of Emma Hart as The Spinstress is to step into an exquisitely rendered moment of 18th-century domestic life. This portrait transcends a…
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To stand before George Romney’s portrait of Shute Barrington, Bishop of Durham, is to step directly into the refined drawing rooms of late eighteenth-century British high society. This…
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The face of a young girl rests within a pool of light, caught between the edges of an uncertain day. She sits with a quiet poise, her features…
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The gentleman sits before us, caught in a moment of quiet poise that feels as though he might speak at any second. He is positioned in a three-quarter…
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In this oil on canvas portrait, a woman is positioned in a three-quarter length view, facing toward the right while her gaze meets the viewer directly. She occupies…
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This work is Portrait of a Gentleman by George Romney. It is a half-length portrait that captures a gentleman in a moment of quiet composure. The subject is…
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In the quiet splendor of George Romney’s 1785 masterpiece, Lady in a Brown Robe, we encounter more than a mere portrait; we step into the refined atmosphere of…
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George Romney painted this portrait of Major-General Sir Archibald Campbell between 1790 and 1792. The sitter, the son of the chamberlain to the Duke of Argyll, is presented…
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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…
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A heavy, white clerical robe dominates the frame, its folds catching a sharp, singular light. This brightness presses against a dark, atmospheric background where deep browns and blacks…
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In the quiet, commanding presence of George Romney’s “James Clitherow” (1780), we find more than just a mere likeness; we encounter the very soul of eighteenth-century British high…
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In this 1784 oil portrait, we encounter a young man seated with a composure that speaks of his social standing and the era's expectations of poise. He is…
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Step closer and observe the quiet intensity within this room. We find ourselves in an intimate indoor setting, where the air seems heavy with the concentration of men…
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In this bust-length portrait, we encounter Bartholomew Ruspini, a man whose quiet dignity suggests a life of both professional precision and philanthropic purpose. He is presented with a…
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George Romney's "Princess Anne Lady de la Pole," painted in 1786, isn’t merely a portrait; it’s a carefully constructed tableau of aristocratic grace and subtle political maneuvering. The…
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The canvas before you presents more than just a likeness; it’s a carefully constructed tableau of the late 18th century, capturing the essence of a celebrated poet and…
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The artwork is titled Portrait of a woman and is attributed to the artist George Romney. This oil on canvas depicts a young woman. The piece is dated…
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The portrait titled Elizabeth, Duchess-Countess of Sutherland captures a moment of quiet poise from 1782. George Romney, the artist, rendered the subject with a focus on the dignity…
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George Romney captures a young woman in 1782. This portrait, titled Miss Clavering, presents the sitter in a three-quarter length composition. She sits against a naturalistic landscape, a…
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In this portrait from 1789, we encounter a young woman captured in a moment of quiet composure. She is presented in a three-quarter view, her gaze directed toward…
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In this 1767 oil on canvas, we encounter Mary Hyde, née Foxcroft, presented in a bust-length portrait that emphasizes a quiet, poised elegance. The composition is framed within…
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George Romney’s “Lady Altamont,” painted in 1788, is more than just a likeness; it's a meticulously crafted distillation of Georgian elegance and social standing. This captivating portrait offers…
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George Romney teose „Lady Hamilton Vestalina” vaikses intiimses maailmas kohtame midagi enamat kui lihtsalt portreedi; astume sisse hetkesse, kus koidub sügav ja madal ajalooline sosin. See suurepärane õliõlupaitel…
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The 1777 oil painting on canvas, titled Portrait of Colin MacKenzie, presents a bust-length view of a young man positioned slightly off-center. He faces toward the right side…
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The air in the room feels heavy and still, as if the subject has just paused mid-breath to meet our gaze. She emerges from a dark, atmospheric background,…
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George Romney painted Portrait of Mrs. Tickell in 1792. This oil on canvas work belongs to the Philadelphia Museum of Art collection. It represents a significant example of…
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Sir John Reade, 6th Baronet, appears in this 1788 oil on canvas seated within a soft-focus landscape. He is positioned in a three-quarter length pose, leaning slightly against…
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In this intimate portrait study, we find a woman caught in a moment of profound emotional turbulence. The composition is tightly focused, a tondo-style arrangement within a square…
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In the quiet depths of George Romney’s 1784 masterpiece, Mrs Siddons, one encounters more than a mere likeness; one meets a soul captured in a moment of profound…
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In this oil on canvas painting from 1783, three children are positioned in a tight, vertical arrangement against a dark, atmospheric background. A boy occupies the left side…
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In this 1780 oil on canvas, Sarah Phipps, formerly known as Mrs. Thomas Phipps, is presented in a bust-length portrait. She is positioned slightly off-center, facing toward the…
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The Willett Children is a monumental oil on canvas by George Romney. Created between 1789 and 1791, this portrait captures three siblings within a quiet, natural setting. The…
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George Romney's “Portrait of a Lady (probably Mrs. James Collingwood)” is more than just a painted likeness; it’s a meticulously crafted window into the refined world of 18th-century…
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This oil portrait, titled Sir John Orde, was executed by the British artist George Romney. The work dates to 1785. The subject of the painting is likely Sir…
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The Portrait of Sir John Papillon Twisden, 7th Baronet by George Romney captures a man of significant standing during the height of the Georgian era. Painted in 1782,…
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The Neue Pinakothek in Munich, Germany, proudly houses a captivating portrait of Catherine Clemens, masterfully rendered by the esteemed English artist George Romney in 1788. This artwork exemplifies…
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In the quiet, commanding presence of George Romney’s 1783 portrait, William Pitt the Younger, one finds more than a mere historical record; one encounters the very soul of…
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The oil on canvas work titled Portrait of Maria and Catherine, the Daughters of Edward Thurlow, 1st Baron Thurlow was executed by the artist George Romney in 1783.…
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George Romney captures the likeness of David Scott, Esq., of Dunniald in this 1794 oil on canvas. The subject is presented in the formal attire of the late…
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This oil on canvas portrait presents a woman from the waist up, positioned in a three-quarter length view against a dark, muted background. The subject is centered, with…
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George Romney's "Thomas Paine" isn’t merely a portrait; it’s a distillation of the Enlightenment, a visual embodiment of revolutionary fervor captured with remarkable precision and emotional depth. Completed…
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In the grand tapestry of eighteenth-century British portraiture, few works capture the delicate intersection of social prestige and quiet introspection as beautifully as George Romney’s 1786 masterpiece, Esther…
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George Romney's “Mrs. Musters,” painted in 1780, is more than just a portrait; it’s a meticulously crafted window into the elegance and social intricacies of Georgian England. This…
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In this 1776 oil on canvas, George Romney presents two figures positioned centrally against an indistinct, dark background. The composition is vertical and captures a three-quarter length view…
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George Romney’s “Henrietta, Countess of Warwick, and Her Children,” painted in 1787, offers a captivating glimpse into the refined world of late 18th-century British society. This exquisite portrait…
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Neli teemat, mis esinevad neil lätistes kõige sagedamini, koos nende kõige armastatumate näidetega.
Kümne 8 muuseumi kollektsioonid, mis sisaldavad kõige rohkem sellel lehel esitatud teoseid.
| Muuseumid | Linn | George Romney teosid | Selle nimekirja maalid |
|---|---|---|---|
 Philadelphia Museum of Art |
Philadelphia | 12 | Portrait of Emma Hart [later Lady Hamilton] as Miranda, Portrait of John Wesley, Portrait of the Willett Children |
 Yale Center for British Art |
New Haven | 11 | Portrait of a Man, James Romney, John Flaxman Modeling the Bust of William Hayley |
 Tate Gallery |
London | 17 | Lady Hamilton as Circe, Lady in a Brown Robe, Lady Altamont |
 The Frick Collection |
New York | 5 | Lady Hamilton as, Lady Hamilton as Nature, Henrietta, Countess of Warwick, and Her Children |
 National Portrait Gallery |
London | 18 | Charles Lennox, 3rd Duke of Richmond and Lennox, Peter Romney, Thomas Paine |
 Museum of Fine Arts |
Boston | 7 | Princess Anne Lady de la Pole, William Chafyn Grove (1731–1793), Portrait of Emma Hart, later Lady Hamilton |
 English Heritage |
London | 6 | Emma Hart as The Spinstress, Lady Hamilton Vestalina, Mrs Musters |
 Fine Arts Museums of San Francisco |
San Francisco | 4 | William Sotheron, The Younger, of Darrington, Madame de Genlis, David Scott, Esq., of Dunniald |
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…
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…
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…
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…
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…
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…
Lady Hamilton as Circe (1782), Tate Gallery, London. Järgnevad Portrait of Emma Hart [later Lady Hamilton] as Miranda (1785) ja Portrait of John Wesley (1789).
1734 aastal sündinud George Romney oli 48 aastat vanus: Lady Hamilton as Circe on pärinev aastast 1782.
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 ja Lady Hamilton as. Iga teos ülal toodud reitingus on märgitud koos aasta ja muuseumiga.
Kataloogis on 1,201 teost kunstnikult George Romney, kuupäevadelt 1750 kuni 1800.
Peamiselt Philadelphia Museum of Art (Philadelphia), Yale Center for British Art (New Haven) ja Tate Gallery (London) asukohas; ülaltoetud nimekiri esitab kirja iga muuseumi ja selle tablood.
1780s perioodil, mis sisaldas 52 kogu selle lehe 100 teosest, oli nende hulgas Lady Hamilton as Circe.
Siin olevad kõige vanamad lamedad pildid on Millicent Watson (1750); kõige uuemad on Portrait of Ralph Willett (1800).
Portraiture (24), Man (21) ja Portrait (19), kogu selle lehekülje 100 teose kohta.
Oil On Canvas, mida on kasutatud 63 kuni 100 teoseks sellel lehel.
Neoklassitsism, nagu sellel lehel olevad tablood näitavad.
Philadelphia Museum of Art, Philadelphia säilitab 8 sellel lehel olevat teost, seda hulka kuuluvad ka Portrait of Emma Hart [later Lady Hamilton] as Miranda, Portrait of John Wesley ja Portrait of the Willett Children.
Jah. Iga maali sellel lehel saab tellida oma lehelt kas käsitsi maalatuna õli-reproductionina või suurepärase kunstiprentina valitud suuruses.
Born on 26 December 1734 in Beckside, Dalton-in-Furness, Lancashire, George Romney entered a world of practical craftsmanship. He was the third of eleven children born to John Romney, a cabinet maker, and Anne Simpson. His early years were shaped by the domestic rhythms of a large family in the Northwest of England. While he attended school at nearby Dendron, his formal education was brief. He was withdrawn from his studies at the age of eleven to begin an apprenticeship in his father's cabinet making business.
The precision required by his father's trade likely informed his later attention to detail, yet his inclinations leaned toward something more illustrative. A local watchmaker sparked an early interest in drawing, providing a subtle redirection from the woodworking tools of his household. This nascent talent eventually led him away from the furniture workshop and toward the study of portraiture. He sought out Christopher Steele, a Kendal-based itinerant portraitist, to refine his skills. Under Steele, Romney began to transition from a craftsman's apprentice to a student of the human form.
By 1762, Romney had left the northern landscapes of Lancashire for the competitive atmosphere of London. He arrived in the capital seeking both fortune and recognition, driven by an ambition that extended beyond his early training. The city was a difficult crucible for a newcomer, yet he navigated its social complexities with a natural ease. He quickly established himself as a skilled portrait painter, finding a place within the high-society circles that dictated the era's aesthetic tastes.
His rise was marked by a direct competition with the most prominent figures of the age, including Thomas Gainsborough and Joshua Reynolds. While these contemporaries held significant influence, Romney carved out a distinct space for himself. He became one of the most popular British portrait painters of the late eighteenth century, catering to a burgeoning merchant class and the established nobility alike. His ability to navigate the shifting social hierarchies of the Georgian era ensured his presence in the most fashionable salons of the time.
Romney’s approach to the canvas was defined by a delicate balance between meticulous detail and expressive brushwork. He favored a refined technique that avoided the heavy-handedness of some of his contemporaries, opting instead for soft brushstrokes that produced a sense of gentle realism. This method allowed him to render the subtle textures of fabric and skin with a quiet sophistication. His palette often relied on muted colors, which contributed to an atmosphere of calm and composure in his compositions. Rather than relying on dramatic artifice, he sought to capture the essence of his subjects through a keen understanding of human psychology, a quality reflected in the nuanced expressions he achieved.
His technical repertoire was broad, extending far beyond the finished oil on canvas. He was a prolific draughtsman who utilized sketches, cartoons, and even small thumbnail studies to work out his ideas. This disciplined practice allowed him to experiment with form and light before committing to a larger scale. His ability to translate these preliminary studies into polished portraits helped him navigate the competitive social landscape of London, where he was often called upon to portray the era's leading figures with both accuracy and grace.
The trajectory of Romney’s creative output shifted profoundly upon his encounter with Emma Hart, the woman who would later be known as Lady Hamilton. She became far more than a frequent subject; she was his most celebrated model and a muse who exerted a powerful influence over his imagination. Their relationship was intense and all-consuming, a connection that deeply affected the artist's personal life and his professional focus. Through her, Romney found a way to move beyond the constraints of standard portraiture into more imaginative, poetic territory.
Under the spell of Emma, Romney produced a sequence of Shakespearean and other fancy subjects. These works allowed him to explore themes of fantasy and literary narrative, utilizing her expressive range to bring dramatic characters to life. He painted over 80 portraits of her, each attempt capturing a different facet of her personality. This period of intense collaboration saw him experimenting with composition and symbolism, moving toward the more imaginative and poetic canvases that defined his later years.
The final decade of Romney’s life was marked by a gradual retreat from the social circles that had once fueled his career. In 1794, illness began to seriously curtail his portrait practice, slowing the prolific output that had defined his peak years. This decline in productivity was not merely a matter of waning interest, but a physical struggle that shadowed his later years. The man who had once competed with the most prominent figures of the Georgian era found himself increasingly sidelined by his own health.
By 1799, the necessity of seeking respite became undeniable. Romney returned, in failing health, to Kendal to be with his wife, Molly. This period of convalescence in the Northwest was a quiet coda to a life spent in the bustling artistic hubs of London and Paris. He remained a powerful draughtsman even as his ability to undertake large-scale commissions diminished. He died in Kendal, Westmorland, England, on 15 November 1802. His remains were laid to rest in Dalton, returning him to the landscape of his birth.
The distribution of Romney’s surviving canvases reflects the geographic arc of his life, from his northern roots to his eventual prominence in the capital. In London, his presence is felt most strongly within the collections of the Tate Gallery, which preserves seventeen of his works, and the National Portrait Gallery, which holds ten. These institutions offer a view of the artist at the height of his social influence, capturing the faces of the Georgian era with the psychological depth that defined his career.
Beyond the capital, his connection to the Northwest remains visible through the holdings of the Abbot Hall Art Gallery in Kendal, which maintains nine of his paintings. This collection provides a link to the region where his life began and where it eventually reached its quiet conclusion. His reach extends across the Atlantic as well, with several works held by the Metropolitan Museum of Art in New York. Among these is the 1782 Portrait of Sir Chaloner Ogle, 1st Baronet.
![Portrait of Emma Hart [later Lady Hamilton] as Miranda (1785), George Romney](/media/artworks/images-thumb/d9/52/d9529a75a306936d6b7034684957c1e3.jpg)
