Lady Hamilton as Circe (1782) er maleriet George Romney er mest kjent for; det tilhører Tate Gallery, London. Portrait of Emma Hart [later Lady Hamilton] as Miranda (1785) og Portrait of John Wesley (1789) fullfører trioen av de mest elskede maleriene. Vår katalog inneholder 1,201 verk av George Romney. Her er de 100 mest kjente, med årstall, museum og historien bak hvert lerret.
Rangert etter vår popularitetsscore, som kombinerer søk, besøk og bestillinger for hvert verk. Oppdatert October 2026. Hvert maleri på denne siden kan bestilles som en håndmalt oljereproduksjon på linlerret, eller som et kunsttrykk i ønsket størrelse.
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) av 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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I den stille intimiteten i George Romneys «Lady Hamilton som en vestalin» møter vi mer enn bare et portrett; vi trer inn i et øyeblikk av dyp, hvisket…
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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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De fire motivene som går igjen oftest på disse lerretene, hver med sitt mest kjente eksempel.
De 8 museene som innehar flest av maleriene på denne siden.
| Museum | By | Verker av George Romney | Malerier fra denne listen |
|---|---|---|---|
 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 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 |
 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 som en vestalin, 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. Portrait of Emma Hart [later Lady Hamilton] as Miranda (1785) og Portrait of John Wesley (1789) følger.
George Romney, født i 1734, var 48 år gammel: Lady Hamilton as Circe er fra 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 og Lady Hamilton as. Hvert lerret i rangeringen ovenfor er oppgitt med årstall og museum.
1,201 verk av George Romney finnes i vår katalog, datert fra 1750 til 1800.
Hovedsakelig i Philadelphia Museum of Art (Philadelphia), Yale Center for British Art (New Haven) og Tate Gallery (London); listen ovenfor navngir hvert museum og deres lerreter.
I 1780s, som utgjorde 52 av de 100 verkene på denne siden, var Lady Hamilton as Circe blant dem.
Det eldste lerretet her er fra Millicent Watson (1750); det nyeste er fra Portrait of Ralph Willett (1800).
Portraiture (24), Man (21) og Portrait (19), fordelt på 100 verk på denne siden.
Oil On Canvas, brukt i 63 av de 100 verkene på denne siden.
Nyklassisismen, som lerretet på denne siden viser.
Philadelphia Museum of Art, Philadelphia har 8 av verkene på denne siden, inkludert Portrait of Emma Hart [later Lady Hamilton] as Miranda, Portrait of John Wesley og Portrait of the Willett Children.
Ja. Hvert maleri på denne siden kan bestilles fra sin egen side som en håndmalt oljereproduksjon, eller som et kunsttrykk i den størrelsen du velger.
George Romney ble født den 26. desember 1734 i Beckside, Dalton-in-Furness, Lancashire, og trådte inn i en verden preget av praktisk håndverk. Som det tredje av elleve barn født av møbelsnekkeren John Romney og Anne Simpson, ble hans tidlige barndom formet av de hjemlige rytmene i en stor familie i det nordvestlige England. Selv om han gikk på skole i nærheten av Dendron, ble hans formelle utdannelse kortvarig; allerede i en alder av elleve år ble han tatt ut av skolen for å begynne i lære i farens møbelverksted.
Presisjonen som kreves i farens fag, la sannsynligvis grunnlaget for den detaljrikdommen han senere utmerket seg med, men hans egentlige lidenskap søkte mot noe mer illustrativt. En lokal urmaker vekket en tidlig interesse for tegning, noe som fungerte som en subtil omvei bort fra hjemmets trearbeid og verktøy. Dette spirende talentet ledet ham til slutt bort fra møbelverkstedet og mot studiet av portrettmaleriet. Han oppsøkte Christopher Steele, en omreisende portrettmaler basert i Kendal, for å foredle sine ferdigheter. Under Steeles veiledning begynte Romney sin transformasjon fra en håndverkslærling til en dedikert student av den menneskelige form.
Innen 1762 hadde Romney forlatt det nordlige landskapet i Lancashire til fordel for det intense og konkurransepregede miljøet i London. Han ankom hovedstaden med en søken etter både lykke og anerkjennelse, drevet av en ambisjon som strakte seg langt utover hans tidlige opplæring. Byen var en krevende smeltedigel for en nykommer, men han navigerte gjennom dens sosiale kompleksiteter med en naturlig letthet. Han etablerte seg raskt som en dyktig portrettmaler og fant sin plass i de øvre sosiale kretser som dikterte tidens estetiske idealer.
Hans fremgang var preget av en direkte konkurranse med de mest fremtredende skikkelsene i samtiden, inkludert Thomas Gainsborough og Joshua Reynolds. Selv om disse samtidige kunstnerne hadde betydelig innflytelse, klarte Romney å skape et helt eget rom for seg selv. Han ble en av de mest populære britiske portrettmalerne på slutten av det attende århundre, og betjente både en voksende handelsklasse og den etablerte adelen. Hans evne til å manøvrere i de skiftende sosiale hierarkiene i den georgianske epoken sikret ham en fast plass i de mest fasjonable salongene i tiden.
Romneys tilnærming til lerretet var preget av en delikat balanse mellom nitid detaljrikdom og ekspressiv penselføring. Han foretrakk en raffinert teknikk som unngikk det tunge og overfladiske som preget enkelte av hans samtidige; i stedet valgte han myke penselstrøk som fremmanet en følelse av mild realisme. Denne metoden gjorde det mulig for ham å gjengi de subtile teksturene i både stoff og hud med en lavmælt sofistikert eleganse. Fargepaletten hans hvilte ofte på dempede toner, noe som bidro til en atmosfære av ro og verdighet i komposisjonene hans. Snarere enn å støtte seg på dramatisk kunstighet, søkte han å fange selve essensen av sine motiver gjennom en dyp forståelse for menneskelig psykologi – en egenskap som reflekteres i de nyanserte ansiktsuttrykkene han maktet å fremstille.
Hans tekniske repertoar var omfattende og strakte seg langt utover det ferdige oljemaleriet. Som en fruktbar tegner benyttet han seg av skisser, kartonger og selv små studier i miniatyr for å utforske sine ideer. Denne disiplinerte praksisen ga ham frihet til å eksperimentere med form og lys før han forpliktet seg til et større format. Evnen til å oversette disse preliminære studiene til polerte portretter var avgjørende for hans suksess i det konkurransepregede sosiale landskapet i London, hvor han ofte ble innkalt for å portrettere epokens fremste skikkelser med både nøyaktighet og ynde.
Retningen for Romneys kreative virke endret seg drastisk i det øyeblikket han møtte Emma Hart, kvinnen som senere skulle bli kjent som Lady Hamilton. Hun ble langt mer enn bare et hyppig motiv; hun ble hans mest berømte modell og en muse som utøvde en kraftfull innflytelse over hans fantasi. Deres forhold var intenst og altomfattende, en forbindelse som preget kunstnerens personlige liv og hans profesjonelle fokus dypt. Gjennom henne fant George Romney en vei ut av det tradisjonelle portrettmaleriets begrensninger og inn i et mer fantasifullt og poetisk landskap.
Under Emmas fortryllelse skapte George Romney en rekke verk med motiver fra Shakespeare og andre fantastiske emner. Disse verkene ga ham muligheten til å utforske temaer knyttet til fantasi og litterære narrativer, hvor han utnyttet hennes ekspressive spenn til å vekke dramatiske karakterer til live på lerretet. Han malte over 80 portretter av henne, og hvert forsøk fanget en ny og ulik facet av hennes personlighet. Denne perioden med intenst samarbeid førte til at han eksperimenterte med komposisjon og symbolikk, en utvikling som pekte mot de mer imaginative og poetiske maleriene som kom til å definere hans senere år.
De siste tiårene av George Romneys liv var preget av et gradvis tilbaketog fra de sosiale sirklene som en gang hadde vært selve drivkraften i hans karriere. I 1794 begynte sykdom å legge sterke begrensninger på hans portrettmaleri, noe som førte til at den enorme produksjonen som hadde definert hans storhetstid, gradvis avtok. Dette fallet i produktivitet var ikke et resultat av svinnende interesse, men snarere en fysisk kamp som kastet skygger over hans siste år. Mannen som en gang hadde målt krefter med de mest fremtredende skikkelsene i den georgianske epoken, befant seg nå stadig mer i skyggen av sin egen helsetilstand.
Innen 1799 var behovet for hvile og lindring blitt ubestridelig. Med sviktende helse vendte Romney tilbake til Kendal for å være sammen med sin kone, Molly. Denne perioden med restitusjon i det nordvestlige England ble en lavmælt coda til et liv tilbrakt i de pulserende kunstneriske sentrene i London og Paris. Selv om hans evne til å ta på seg store oppdrag ble svekket, forble han en eksepsjonell tegner med en urokkelig teknisk styrke. George Romney døde i Kendal, Westmorland, i England, den 15. november 1802. Hans levninger ble stedt til hvile i Dalton, og ble dermed ført tilbake til det landskapet han en gang sprang ut fra.
Fordelingen av de overlevende maleriene til George Romney gjenspeiler den geografiske buen i hans liv, fra hans nordlige røtter til hans endelige storhetstid i hovedstaden. I London er hans nærvær sterkest i samlingene til Tate Gallery, som bevarer sytten av hans verk, og National Portrait Gallery, som rommer ti. Disse institusjonene tilbyr et innblikk i kunstneren på høyden av hans sosiale innflytelse, der han fanger ansiktene fra den georgianske epoken med den psykologiske dybden som definerte hans karriere.
Utenfor hovedstaden forblir hans tilknytning til Nordvest-England synlig gjennom samlingene ved Abbot Hall Art Gallery i Kendal, som forvalter ni av hans malerier. Denne samlingen utgjør en bro til regionen der livet hans begynte, og hvor det til slutt nådde sin stille avslutning. Hans rekkevidde strekker seg også over Atlanterhavet, med flere verk i Metropolitan Museum of Art i New York. Blant disse finner man det stemningsfulle verket fra 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)
