Lady Hamilton as Circe (1782) je slika, po kateri je najbolj znan George Romney; pripada muzeju Tate Gallery, London. Portrait of Emma Hart [later Lady Hamilton] as Miranda (1785) in Portrait of John Wesley (1789) dopolnjujeta trio najbolj priljubljenih platn. Naš katalog vsebuje 1,201 del avtorja George Romney. Tukaj je 100 najbolj znanih delov, vključno z letom nastanka, muzejom in zgodbojo vsakega platna.
Uvrščeno glede na naš skoraj priljubljenosti, ki združuje število iskanj, obiskov in naročil za vsako delo. Posodobljeno oktober 2026. Vsako sliko na tej strani je mogoče naročiti kot ročno slikano oljno reprodukcijo na lanenem platnu ali kot umetniški natisk, izdelan v izbrani velikosti.
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) avtorja 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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V tihi intimnosti umetninje Georgea Romneyja “Lady Hamilton kot Vestalka” ne srečamo le portreta; stopimo v trenutek globoke, šepetane zgodovine. Z letnico 1800 na platnu je to izstopno…
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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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Četiri teme, ki se najpogosteje pojavljajo na teh platnah, vsaka z svojim najbolj priljubljenim primerom.
8 muzejev, ki vsebujo največ slik na tej strani.
| Muzej | Mesto | Sloga George Romney | Slike iz tega seznama |
|---|---|---|---|
 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 fine arts |
Boston | 7 | Princess Anne Lady de la Pole, William Chafyn Grove (1731–1793), Portrait of Emma Hart, later Lady Hamilton |
 English Heritage |
Londýn | 6 | Emma Hart as The Spinstress, Gospa Hamilton kot Vestalka, 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. sledita Portrait of Emma Hart [later Lady Hamilton] as Miranda (1785) in Portrait of John Wesley (1789).
George Romney, rojen leta 1734, je imel 48 let: Lady Hamilton as Circe datira iz leta 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 in Lady Hamilton as. Vsako platno v zgornji uvrstitvi vključuje leto nastanka in muzej.
V našem katalogu je 1,201 del umetnika George Romney, datiranih od 1750 do 1800.
Večinoma v Philadelphia Museum of Art (Filadelfija), Yale Center for British Art (New Haven) in Tate Gallery (London); zgornji seznam navaja vsak muzej in njegova platna.
V obdobju 1780s, ki je vključilo 52 od 100 del na tej strani, je med njimi tudi Lady Hamilton as Circe.
Najstarejše platno tukaj je Millicent Watson (1750); najstarejše je Portrait of Ralph Willett (1800).
Portraiture (24), Man (21) in Portrait (19), na 100 delih na tej strani.
Oil On Canvas, uporano v 63 od 100 del na tej strani.
Neoklasicizem, kot to pokažejo platna na tej strani.
Muzej Philadelphia Museum of Art, Filadelfija hrani 8 del z te strani, med katerimi so tudi Portrait of Emma Hart [later Lady Hamilton] as Miranda, Portrait of John Wesley in Portrait of the Willett Children.
Da. Vsako sliko na tej strani lahko naročite na njeni lastni strani kot ročno naslikano oljno reprodukcijo ali kot umetniški natisk v izbrani velikosti.
George Romney se je rodil 26. decembra 1734 v Beckside, Dalton-in-Furness, v Lancasterju, in že od začetka je bil del sveta praktičnega kroježevstva. Kot tretji od enajstih otrok, ki so se rodili Johnu Romneyju, huharju, in Anne Simpson, je odrasel v toplini in ritmu velike družine na severovozoku Englobe. Njegova zgodnja leta je oblikovala domačna vzdušja, ki so mu dala temelj za prihodnjo disciplino. Čeprav je obiskoval šolo v bližnjem Dendronu, je bila njegova formalna izobrazba kratka; že pri enajstih letih je prekinil šole, da bi se pridružil očetovem podjetju in se naučil hvarstva.
Preciznost, ki jo je zahteval očetov poklic, je verjetno vplivala na njegovo kasnejšo izjemno pozornost do detajlov, vendar so njegove naravne nagnitve težile k nečem bolj ilustrativnemu in umetniškemu. Lokalni urar je v njem vzbudil zgodnji interes za risanje, kar je bilo subtilno odločenje, ki ga je odmaknilo od lesoreznih orodij domačega gospodarstva. Ta nastali talent ga je končno vodil iz delavnice poh furniture proti študiju portretne slikarstva. Za izpopolnjevanje svojih veščin je poiskal Christopher Steele, portretista, ki je delal v Kendalu, in pod njegovim mentorstvom je George Romney začel prehajati iz učenja poklicnega zanimanja v globoko razumevanje človeške oblike.
Do leta 1762 je je George Romney zapustil severne pokrajine Lancashireja in se odločil za neposredno pot v kompetitivno vzdušje Londona. V prestolnico je prispel z željo po srečnem naklonu usode in priznanju, pognjen z ambicijo, ki je presegala okvire njegove zgodnje izobrazbe. Mesto je bilo za novopečenega umetnika težko preizkuševalno polje, vendar je njegove družbene kompleksnosti prehodil z naravnim lahkoto. Hitro se je uveljavil kot veščit portretist, ki je našel svoj prostor v visokodružbenih krogih, ki so diktirali estetske okuse tistega obdobja.
Njegov vzpon je bil zaznamovan z neposrednim tekmovanjem z najbolj izpostavljenimi figurami svojega časa, vključno s podjetniki, kot sta Thomas Gainsborough in Joshua Reynolds. Čeprav so imeli ti sodobniki velik vpliv, je si je George Romney uspesno izkoristil za ustvarjanje svojega lastnega, edinstvenega prostora. Postal je eden iz najbolj priljubljenih britanskih portretistov konice eighteenth stoletja, ki je zdelno služil tako razvijajočemu se trgovskemu razredu kot uveljavljeni nobility. Njegova sposobnost navigacije skozi premikajoče se družbene hierarhije georgijanske ere je zagotovila njegovo prisotnost v najbolj modnih salonih tistega časa.
Romneyjev pristop k platnu je bil opredeljen z nežno ravnovesjem med natančnim detajlingom in ekspresivnimi potebami črdelj. Avtor je preferiral izpopolnjeno tehniko, ki se je izogibala težavnosti in preobremenjenosti nekaterih njegovih sodobnikov; namesto tega je izbiral mehkobne potebe, ki so ustvarjale občutek nežnega realizma. Ta metoda mu je omogočila, da je s tiho sofisticiranostjo prikazal subtilne teksture tkanin in kože. Njegova paleta je pogosto temeljila na utihnjenih barvah, kar je v njegove kompozicijah prisdelovalo vzdušju miru in zdržnosti. Namesto da bi se zanašal na dramatično umetnost, je skušal zajeti bistvo svojih subjektov skozi globoko razumevanje človeške psihologije, kar se odraža v subtilnih in nenehno premišljenih izrazih, ki jih je dosegal.
Njegov tehnični repertoar je bil izjemno širok in se je razvijal daleč 넘어 z dokončanimi platni z oljami. Bil je plodovit risalec, ki je za razvijanje svojih idej uporabljal skice, kartone in celo majhne študije, ki so mu služile kot predogled. Ta disciplinirana praksa mu je omogočila eksperimentiranje z obliko in svetlobo, preden bi se odločil za delo v večjem obsegu. Njegova sposobnost, da te predhodne študije pretenja v dovršene portrete, mu je pomagala prehoditi skozi kompetitivno družbeno okolje Londona, kjer je bil pogosto povabljen, da z natančnostjo in eleganco portretira vodilne osebnosti tistega obdobja.
Smer umetniške poti George Romney je temeljito spremenila srečanja z Emmo Hart, ženo, ki jo bo svet pozneje poznal pod imenom Lady Hamilton. Postala je veliko več kot le pogosta motiv na platnu; bila je njegova najbolj slavna model in muza, ki je na njegovo domišljijo udarila z nepremočljivo močjo. Njuna zveza je bila intenzivna in vseobsežna, globoka povezava, ki je neposredno vplivala na osebno življenje umetnika in njegovo profesionalno usmeritev. Prav skozi njo je George Romney našel pot, da se izogne omejitvam klasične portretne slikarstva in stopi v bolj domišljljive, poetske sfere umetnosti.
Pod čarobnim čarom Emme je George Romney ustvaril serijo del, ki so temeljena na Shakespearejevih motivih in drugih fantastičnih temah. Ta dela so mu omogočila raziskovanje tem fantazije in literarnega pripovedovanja, pri čemer je izkoriščal njeno izrazno bogatost, da je dramatičnim likom vdihnil življenje. Naslikal je več kot osemdeset njenih portretov, kjer je vsaka poskusa zajela drugčen, unikaten segment njene osebnosti. To obdobje intenzivne sodelovanja je prineslo eksperimentiranje z kompozicijo in simboliko, kar ga je vodilo proti bolj vizionarskim in poetskim platnom, ki so definirala njegovo pozno obdobje ustvarljanja.
Zadnje desetletje George Romneyjevega življenja je obeležilo postopno umikanje iz družabnih krogov, ki so nekoč podpirali njegovo kariero. Leta 1794 se je bolezen začela resno omejevati njegovo delo portretista, kar je upočasnilo plodno ustvarjalnost, ki je definirala njegove vrhunske leta. Ta padec produktivnosti ni bil le posledica upadajočega zanimanja, temveč fizična borba, ki je zasenčila njegovo starost. Človek, ki se je nekoč soočal z najbolj znamenitimi akterji georgijanske dobe, se je zaradi lastne slabosti postal vse bolj marginaliziran.
Do leta 1799 je bila potreba po miru in počitku neizpogibljiva. George Romney se je v slabem zdravju vrnil v Kendal, da bi bil ob svoji wife Molly. Ta obdobje convalescence na severovozoku je predstavljalo tiho kodo življenja, ki je bilo preživljeno v živahnih umetniških središčih Londona in Pariza. Kljub da se je njegova sposobnost izvajanja velikih naročinj zmanjšala, je ostal izjemno močan drasist. Umrl je v Kendalu, v Westmorlandu, v Angliji, 15. novembra 1802. Njegovi ostanki so bili pokopani v Daltonu, kar ga je ponovno vrnilo v krajinarje njegove rojstne domovine.
Razpširjenost preostalih platn, ki so preživela čas, odraža geografsko pot njegovega življenja – od severnih koren, kjer se je rodil, do vrhunca slave v prestižni prestolnici. V Londonu je njegova prisotnost najbolj opazna v zbirkah Tate Gallery, ki čuva sedem njegovih del, in v National Portrait Gallery, kjer se nahaja deset platn. Te institucije nam omogočajo vpogled v umetnika v času njegovega največnjega družbenega vpliva, ko je z psihološko globino zajemal obraze georgijanske dobe, ki so mu definirali kariero.
Če se odmaknemo od prestolnice, je njegova povezanost s severozahodom še vedno vidna skozi zbirke Abbot Hall Art Gallery v Kendalu, ki hrani devet njegovih slik. Ta zbirka predstavlja neposredno vez z regijo, kjer se je njegovo življenje začelo in kjer se je končalo v mirnem zaključku. Njegov umetniški odmev sega tudi čez Atlantik, saj več njegovih deli skrbi Metropolitan Museum of Art v New Yorku. Med temi dragocenostmi je tudi delo iz leta 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)
