Lady Hamilton as Circe (1782) é a pintura pela qual George Romney é mais lembrado; pertence ao Tate Gallery, Londres. Portrait of Emma Hart [later Lady Hamilton] as Miranda (1785) e Portrait of John Wesley (1789) completam o trio das telas mais amadas. O nosso catálogo conta com 1,201 obras de George Romney. Aqui estão as 100 mais famosas, com o ano, o museu e a história de cada tela.
Classificado de acordo com o nosso índice de popularidade, que combina buscas, visitas e pedidos de cada obra. Atualizado em Outubro 2026. Cada pintura nesta página pode ser encomendada como uma reprodução a óleo pintada à mão sobre tela de linho, ou como uma impressão fine art, feita no tamanho que escolher.
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) de 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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Na intimidade silenciosa de “Lady Hamilton como uma Vestal”, de George Romney, encontramos mais do que um simples retrato; entramos em um momento de história profunda e sussurrada.…
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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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George Romney captures a moment of heavy stillness in Niobid. This work exists as a study, a preliminary observation of form and emotion intended for a larger composition.…
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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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Os quatro temas que mais aparecem nestas telas, cada um com o seu exemplo mais amado.
Os 8 museus que detêm a maioria das pinturas desta página.
| Museu | Cidade | Obras de George Romney | Pinturas desta lista |
|---|---|---|---|
 Philadelphia Museum of Art |
Filadélfia | 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 |
Londres | 17 | Lady Hamilton as Circe, Lady in a Brown Robe, Lady Altamont |
 The Frick Collection |
Nova Iorque | 5 | Lady Hamilton as, Lady Hamilton as Nature, Henrietta, Countess of Warwick, and Her Children |
 National Portrait Gallery |
Londres | 18 | Charles Lennox, 3rd Duke of Richmond and Lennox, Peter Romney, Thomas Paine |
 Museu de Belas Artes de Boston |
Boston | 7 | Princess Anne Lady de la Pole, William Chafyn Grove (1731–1793), Portrait of Emma Hart, later Lady Hamilton |
 English Heritage |
Londres | 6 | Emma Hart as The Spinstress, Lady Hamilton como uma Vestal, Mrs Musters |
 Fine Arts Museums of San Francisco |
São 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, Londres. Seguidos por Portrait of Emma Hart [later Lady Hamilton] as Miranda (1785) e Portrait of John Wesley (1789).
George Romney, nascido(a) em 1734, tinha 48 anos: Lady Hamilton as Circe data de 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 e Lady Hamilton as. Cada tela no ranking acima inclui o seu ano e o seu museu.
1,201 obras de George Romney estão em nosso catálogo, datadas de 1750 a 1800.
Principalmente em Philadelphia Museum of Art (Filadélfia), Yale Center for British Art (New Haven) e Tate Gallery (Londres); a lista acima indica cada museu e as suas telas.
Em 1780s, que compreende 52 das 100 obras desta página, Lady Hamilton as Circe entre elas.
A tela mais antiga aqui é de Millicent Watson (1750); a mais recente é de Portrait of Ralph Willett (1800).
Portraiture (24), Man (21) e Portrait (19), entre as 100 obras nesta página.
Oil On Canvas, utilizado em 63 das 100 obras nesta página.
Neoclassical style, como mostram as telas nesta página.
O Philadelphia Museum of Art, Filadélfia detém 8 das obras desta página, entre elas Portrait of Emma Hart [later Lady Hamilton] as Miranda, Portrait of John Wesley e Portrait of the Willett Children.
Sim. Todas as pinturas desta página podem ser encomendadas a partir de sua própria página como uma reprodução a óleo pintada à mão, ou como uma impressão fine art, no tamanho de sua escolha.
Nascido em 26 de dezembro de 1734, em Beckside, Dalton-in-Furness, Lancashire, George Romney ingressou em um mundo de artesanato prático. Ele era o terceiro de onze filhos de John Romney, um marceneiro, e Anne Simpson. Seus primeiros anos foram moldados pelos ritmos domésticos de uma numerosa família no noroeste da Inglaterra. Embora tenha frequentado a escola na vizinha Dendron, sua educação formal foi breve; aos onze anos, foi retirado de seus estudos para iniciar um aprendizado no negócio de marcenaria de seu pai.
A precisão exigida pelo ofício de seu pai provavelmente influenciou sua atenção posterior aos detalhes, embora suas inclinações pendessem para algo mais ilustrativo. Um relojoeiro local despertou seu interesse inicial pelo desenho, proporcionando um redirecionamento sutil das ferramentas de marcenaria de seu lar. Esse talento nascente acabou por levá-lo para longe da oficina de móveis e em direção ao estudo da retratística. Ele buscou Christopher Steele, um retratista itinerante baseado em Kendal, para refinar suas habilidades. Sob a tutela de Steele, Romney começou a transitar de um aprendiz de artesão para um estudante da forma humana.
Por volta de 1762, George Romney deixou as paisagens do norte de Lancashire para enfrentar a atmosfera competitiva de Londres. Ele chegou à capital em busca de fortuna e reconhecimento, impulsionado por uma ambição que transcendia sua formação inicial. A cidade revelou-se um cadinho desafiador para um recém-chegado, mas ele navegou por suas complexidades sociais com uma facilidade natural. Rapidamente, estabeleceu-se como um habilidoso pintor de retratos, encontrando seu lugar nos círculos da alta sociedade que ditavam os gostos estéticos da época.
Sua ascensão foi marcada por uma competição direta com as figuras mais proeminentes de sua era, incluindo Thomas Gainsborough e Joshua Reynolds. Embora esses contemporâneos detivessem uma influência significativa, George Romney esculpiu um espaço distinto para si mesmo. Ele tornou-se um dos pintores de retratos britânicos mais populares do final do século XVIII, atendendo tanto à crescente classe mercantil quanto à nobreza estabelecida. Sua habilidade em transitar pelas mutáveis hierarquias sociais da era Georgiana garantiu sua presença nos salões mais sofisticados de seu tempo.
A abordagem de George Romney em relação à tela era definida por um equilíbrio delicado entre o detalhe meticuloso e a pincelada expressiva. Ele favorecia uma técnica refinada que evitava o excesso de carga de alguns de seus contemporâneos, optando, em vez disso, por pinceladas suaves que produziam uma sensação de realismo gentil. Este método permitia-lhe renderizar as texturas sutis de tecidos e da pele com uma sofisticação silenciosa. Sua paleta frequentemente dependia de cores suaves, o que contribuía para uma atmosfera de calma e compostura em suas composições. Em vez de confiar em artifícios dramáticos, ele buscava capturar a essência de seus modelos através de uma compreensão aguçada da psicologia humana, uma qualidade refletida nas expressões matizadas que alcançava.
Seu repertório técnico era vasto, estendendo-se muito além da pintura a óleo finalizada sobre tela. Ele era um desenhista prolífico que utilizava esboços, cartões e até pequenos estudos em miniatura para desenvolver suas ideias. Essa prática disciplinada permitia-lhe experimentar a forma e a luz antes de se comprometer com uma escala maior. Sua habilidade de traduzir esses estudos preliminares em retratos polidos ajudou-o a navegar pelo competitivo cenário social de Londres, onde era frequentemente convocado para retratar as principais figuras da era com precisão e graça.
A trajetória da produção criativa de George Romney sofreu uma mudança profunda após o seu encontro com Emma Hart, a mulher que mais tarde seria conhecida como Lady Hamilton. Ela tornou-se muito mais do que um tema frequente; foi a sua modelo mais célebre e uma musa que exerceu uma influência poderosa sobre a sua imaginação. A relação entre ambos era intensa e avassaladora, uma conexão que afetou profundamente a vida pessoal do artista e o seu foco profissional. Através dela, George Romney encontrou um caminho para transcender as restrições do retrato convencional, adentrando um território muito mais imaginativo e poético.
Sob o feitiço de Emma, George Romney produziu uma sequência de temas shakespearianos e outras fantasias literárias. Estas obras permitiram-lhe explorar temas de fantasia e narrativa literária, utilizando a gama expressiva dela para dar vida a personagens dramáticas. Ele pintou mais de 80 retratos dela, sendo que cada tentativa capturava uma faceta diferente da sua personalidade. Este período de intensa colaboração viu o artista a experimentar com a composição e o simbolismo, evoluindo para as telas mais imaginativas e poéticas que viriam a definir os seus anos tardios.
A última década da vida de George Romney foi marcada por um recuo gradual dos círculos sociais que outrora impulsionaram sua carreira. Em 1794, a doença começou a limitar seriamente sua prática de retratística, desacelerando a produção prolífica que havia definido seus anos de auge. Este declínio na produtividade não foi meramente uma questão de interesse decrescente, mas sim uma luta física que sombreou seus anos finais. O homem que um dia competiu com as figuras mais proeminentes da era Georgiana viu-se, progressivamente, deixado à margem por sua própria saúde.
Por volta de 1799, a necessidade de buscar repouso tornou-se inegável. George Romney retornou, com a saúde debilitada, a Kendal para estar com sua esposa, Molly. Este período de convalescença no Noroeste foi uma coda silenciosa para uma vida dedicada aos efervescentes centros artísticos de Londres e Paris. Ele permaneceu um desenhista poderoso, mesmo quando sua capacidade de assumir encomendas de grande escala diminuía. Faleceu em Kendal, Westmorland, Inglaterra, em 15 de novembro de 1802. Seus restos mortais foram sepultados em Dalton, devolvendo-o à paisagem de seu nascimento.
A distribuição das telas sobreviventes de George Romney reflete o arco geográfico de sua vida, desde suas raízes no norte até sua eventual proeminência na capital. Em Londres, sua presença é sentida com maior intensidade nas coleções da Tate Gallery, que preserva dezessete de suas obras, e da National Portrait Gallery, que detém dez. Estas instituições oferecem um vislumbre do artista no auge de sua influência social, capturando os rostos da era georgiana com a profundidade psicológica que definiu sua carreira.
Para além da capital, sua conexão com o Noroeste permanece visível através do acervo da Abbot Hall Art Gallery, em Kendal, que mantém nove de suas pinturas. Esta coleção estabelece um elo com a região onde sua vida começou e onde encontrou seu tranquilo desfecho. Seu alcance estende-se também através do Atlântico, com diversas obras sob a guarda do Metropolitan Museum of Art, em Nova York. Entre estas, destaca-se o Portrait of Sir Chaloner Ogle, 1st Baronet, de 1782.
![Portrait of Emma Hart [later Lady Hamilton] as Miranda (1785), George Romney](/media/artworks/images-thumb/d9/52/d9529a75a306936d6b7034684957c1e3.jpg)
