Lady Hamilton as Circe (1782) je slika po kojoj je George Romney najpoznatiji; nalazi se u muzeju Tate Gallery, London. Portrait of Emma Hart [later Lady Hamilton] as Miranda (1785) i Portrait of John Wesley (1789) upotpunjuju triju najomiljenijih platnena djela. Naš katalog sadrži 1,201 djela umjetnika George Romney. Evo 100 najpoznatijih, s godinom nastanka, muzejom i pričanjom o svakom platnu.
Rangirano prema našoj ocjeni popularnosti, koja objedinjuje broj pretraživanja, posjeta i narudžbi za svako djelo. Ažurirano Listopad 2026. Svaku sliku s ove stranice možete naručiti kao ručno oslikano ulje na lanenom platnu ili kao umjetničku štampu, izrađenu prema odabranoj veličini.
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) od 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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U tihoj intimnosti djela Georgea Romneyja „Lady Hamilton kao Vestala”, susrećemo više od običnog portreta; zakoračujemo u trenutak duboke, šaputane povijesti. Naslikano 180acije, ovo izvrsno ulje na platnu…
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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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Četiri teme koje se najčešće pojavljuju na ovim platnima, svaka uz svoj najomiljeniji primjer.
8 muzeja u kojima se nalazi najviše djela s ove stranice.
| Muzej | Grad | Djela autora George Romney | Slike iz ovog popisa |
|---|---|---|---|
 Philadelphia Museum of Art |
Filadelfija | 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 City | 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 |
 Muzej likovnih umjetnosti |
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, Gospa Hamilton kao Vestala, 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. Prate ih Portrait of Emma Hart [later Lady Hamilton] as Miranda (1785) i Portrait of John Wesley (1789).
George Romney, rođen/a 1734, imao/la je 48 godina: Lady Hamilton as Circe datira iz 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 i Lady Hamilton as. Svako platno u gornjem rangiranju sadrži godinu nastanka i naziv muzeja.
U našem katalogu nalazi se 1,201 djela umjetnika George Romney, datiranih od 1750 do 1800.
Većinom u Philadelphia Museum of Art (Filadelfija), Yale Center for British Art (New Haven) i Tate Gallery (London); gornji popis navodi svaki muzej i njegova platna.
U 1780s, koji obuhvaća 52 od ukupno 100 djela na ovoj stranici, među njima je i Lady Hamilton as Circe.
Najstarije platno ovdje je iz Millicent Watson (1750) godine; najnovije je iz Portrait of Ralph Willett (1800) godine.
Portraiture (24), Man (21) i Portrait (19), kroz svih 100 djela na ovoj stranici.
Oil On Canvas, korišteno u 63 od 100 djela na ovoj stranici.
Neoklasicizam, kao što pokazuju platna na ovoj stranici.
Muzej Philadelphia Museum of Art, Filadelfija posjeduje 8 djela s ove stranice, među kojima su i Portrait of Emma Hart [later Lady Hamilton] as Miranda, Portrait of John Wesley i Portrait of the Willett Children.
Da. Svaku sliku s ove stranice možete naručiti sa njezine vlastite stranice kao ručno oslikano ulje na platnu ili kao umjetničku štampu, u veličini koju odaberete.
Rođen 26. prosinca 1734. godine u Becksideu, Dalton-in-Furness, u Lancashireu, George Romney ušao je u svijet praktičnog obrtništva. Bio je treće od jedanaestoro djece koje su rodili John Romney, stolari, i Anne Simpson. Njegove su rane godine oblikovali kućni ritmovi velike obitelji na sjeverozapadu Engleske. Iako je pohađao školu u obližnjem Dendronu, njegovo formalno obrazovanje bilo je kratko. S preerano je prekinut iz škole sa jedanaest godina kako bi započeo svoj šestarstvo u očevom stolarskom obrtu.
Preciznost koju je zahtijevao očev zanat vjerojatno je utjecala na njegov kasniji iznimni osjećaj za detalje, no njegova sklonost bila je nagnuta prema nečem slikovitijem. Lokalni časovničar potaknuo je njegovo rano interesiranje za crtanje, pružajući mu suptilno usmjeravanje daleko od drvenih alata koji su dominirali njegovim kućanstvom. Taj se rani talent na kraju odveo od radionice namještaja prema proučavanju portretarstva. Potražio je Christopher Steele, putujućeg portretista iz Kendala, kako bi usavršio svoje vještine. Pod vodstvom Steelea, Romney je započeo svoj tranziciju iz obrtničkog šegrta u istinskog umjetnika koji istražuje ljudski oblik.
Do 1762. godine, George Romney napustio je sjajne pejzaže Lancastera kako bi se suočio s iznimno kompetitivnom atmosferom Londona. Došao je u prijestolnicu tražeći i bogatstvo i priznanje, vođen ambicijom koja je prevazilazila okvire njegovog raničeg učenja. London je bio težak toplilni lonac za novu prilježnika, no on je kroz njegove društvene složenosti koračao s prirodnom lakoćom. Ubrzo se utvrdio kao vješt portretist, pronašavši svoje mjesto u krugovima visokog društva koji su diktirali estetski ukus tog doba.
Njegov uspon obilježen je izravnim natjecanjem s najistaknutijim figurama epohe, uključujući Thomas Gainsborough i Joshua Reynolds. Iako su ti suvremenici imali značajan utjecaj, George Romney je za sebe izlobio jedinstven prostor. Postao je jedan od najpopularnijih britanskih portretista kasnog osamnaestog stoljeća, uslužujući kako rastuću trgovačku klasu, tako i ustaljen nobility. Njegova sposobnost navigiranja kroz promjenjive društvene hijerarhije georgijanskog doba osigurala mu je prisutnost u najmodernijim salonima tog vremena.
Romneyjev pristup platnu definirao je osjetljivi ravnoteža između pedantnog detalja i ekspresivnog poteza četkicom. Njegova je tehnika bila rafinirana, izbjegavajući težinu i pretjeranu dramatičnost koja je obilježavala radove nekih njegovih suvremenika; umjesto toga, birao je meke poteze koji su stvarali dojam nježnog realizma. Ova metoda omogućovala mu je da s tihom sofisticiranošću dočara suptilne teksture tkanine i kože. Paleta boja koju je koristio često se oslanjala na prigušene tonove, što je u njegovim kompozicijama doprinosilo atmosferi smirenosti i staloženosti. Umjesto oslanjanja na dramatičnu umjetnost, on je nastojao uhvatiti samu esenciju svojih subjekata kroz oštro razumijevanje ljudske psihologije, što se odražavalo u nijansiranim izrazima lica koje je postigao.
Njegov tehnički repertoar bio je iznimno širok, protežući se daleko izvan gotovih uljanih slika na platnu. Bio je iznimno plodan crtač koji je koristio skice, kartone, pa čak i male studije u malom formatu kako bi razradio svoje ideje. Ta disciplinirana praksa omogućavala mu je eksperimentiranje s formom i svjetlom prije nego što bi se posvetio radu u većem smjeru. Sposobnost prevođenja tih preliminarnih studija u dovršene portrete pomagla mu je da se snađe u konkurentnom društvenom okruženju Londona, gdje je često bio pozivan da portretiše vodeće figure tog doba, uz istovremenu preciznost i miljenju.
Krivodorska linija Romneyjevog kreativnog izražavanja izrazito se promijenila nakon susreta s Emmom Hart, ženom koja će kasnije postati poznata kao Lady Hamilton. Ona je postala mnogo više od običnog modela; bila je njegova najslavnije muza koja je snažno prožlačila njegovu maštu. Njihova je veza bila intenzivna i apsolutna, poveznica koja je duboko utjecala na umjetnikov osobni život i profesionalni fokus. Kroz nju je George Romney pronašao put da nadilazi okvire standardnog portretizma i zakorači u prostore mašte i poezije.
Pod očaravanjem Emme, George Romney je stvorio niz djela inspiriranih Shakespeareom i drugim fantastičnim temama. Ta su djela omogućila umjetniku da istražuje motive fantazije i književnog narativa, koristeći njezinu izražajnost kako bi oživio dramatične likove. Naslikao je preko osamdeset portreta nje, pri čemu je svaki pokušaj pokušavao uhvatiti drugu nijansu njezine osobnosti. To razdoblje intenzivne suradnje obilježeno je eksperimentima s kompozicijom i simbolizmom, vodeći ga prema onim maštovitim i poetskim platnima koja su definirala njegove kasnije godine.
Posljednji desetljeće života koji je proživio George Romney obilježeno je postupnim povlačenjem iz društvenih krugova koji su nekada pokretali njegovu karijeru. Godine 1794. bolest je počela ozbiljno ograničavati njegov portretni rad, usporavajući plodnu kreativnost koja je definirala njegove vrhunske godine. Taj pad produktivnosti nije bio samo pitanje opadanja interesa, već teška fizička borba koja je pratila njegove kasne godine. Čovjek koji se nekada natjecao s najistaknutijim figurama georgijanske ere, našao se sve više potisnutim vlastitom bolešću.
Do 1799. godine, potreba za odmorom postala je neosporna. George Romney se, u naruštenom zdravlju, vratio u Kendal kako bi bio uz svoju suprugu, Molly. To razdoblje oporavka na sjeverozapadu bilo je tiha koda životu provedenom u užurbanim umjetničkim središćima Londona i Pariza. Ostao je snažan crtač čak i kada mu je sposobnost obavljanja velikih narudžbi opadala. Umro je u Kendalu, Westmorland, u Engleskoj, 15. studenog 1802. godine. Njegovi su ostaci položeni u pokoj u Daltonu, vrativši ga u krajolik njegovog rođenja.
Raspoređenost preživjelih platnena djela George Romney odražava geografski luk njegovog života, od njegovih sjevernih korijena do konačnog uspona u glavnom gradu. U Londonu, njegova prisutnost najsnažnije se osjeća u kolekcijama Tate Gallery, koja čuva sedamnaest njegovih radova, te National Portrait Gallery, koja posjeduje deset platna. Ove institucije nude uvid u umjetnika u vrhuncu njegovog društvenog utjecaja, hvatajući lica georgijanske ere s psihološkom dubinom koja je definirala njegovu karijeru.
Izvan glavnog grada, njegova povezanost sa sjeverozapadom i dalje je vidljiva kroz zbirke Abbot Hall Art Gallery u Kendalu, koja čuva devet njegovih slika. Ova kolekcija pruža vezu s regijom gdje je njegov život počeo i gdje je konačno dosegao svoj tihi završetak. Njegov utjecaj proteže se i preko Atlantika, s nekoliko djela koja se nalaze u Metropolitan Museum of Art u New Yorku. Među njima je i portret iz 1782. godine, 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)
