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This title was first published in 2000: In their stunning simplicity, George Romney's portraits of eighteenth-century gentry and their children are among the most widely recognised creations of his age. A rival to Reynolds and Gainsborough, Romney was born in 1734 on the edge of the Lake District, the landscape of which never ceased to influence his eye for composition and colour. He moved in 1762 to London where there was an insatiable market for portraits of the landed gentry to fill the elegant picture galleries of their country houses. Romney's sitters included William Beckford and Emma Hart, later Lady Hamilton. An influential figure, one of the founding fathers of neo-classicism and a harbinger of romanticism, Romney yearned to develop his talents as a history painter. Countless drawings bear witness to ambitious projects on elemental themes which were rarely executed on canvas. Richly illustrated, this is the first biography of Romney to explore the full diversity of his oeuvre.
"This title was first published in 2000: In their stunning simplicity, George Romney's portraits of eighteenth-century gentry and their children are among the most widely recognised creations of his age. A rival to Reynolds and Gainsborough, Romney was born in 1734 on the edge of the Lake District, the landscape of which never ceased to influence his eye for composition and colour. He moved in 1762 to London where there was an insatiable market for portraits of the landed gentry to fill the elegant picture galleries of their country houses. Romney's sitters included William Beckford and Emma Hart, later Lady Hamilton. An influential figure, one of the founding fathers of neo-classicism and a harbinger of romanticism, Romney yearned to develop his talents as a history painter. Countless drawings bear witness to ambitious projects on elemental themes which were rarely executed on canvas. Richly illustrated, this is the first biography of Romney to explore the full diversity of his oeuvre. David A. Cross portays a complex personality, prone to melancholy, who held himself aloof from London's Establishment and from the Royal Academy, of which Sir Joshua Reynolds was President, and chose instead to find his friends among that city's radical intelligentsia."--Provided by publisher.
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This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1809 edition. Excerpt: ... often expressed his high admiration of the original. I now return to such occurrences during our brief residence in Paris, as particularly relate either to Romney, or his art. The living painters of France, who chiefly engaged his notice, were David and Greuse. Each of these artists favored us with his company to dinner, and David attended us in our visit to the Luxemburgh gallery. This celebrated composition of Rubens had been an idol of my infancy, as the prints of it happened to form a part of the furniture in the dressing room of my mother. Hence a sight of the original pictures affected me with very singular delight. How great is the influence of petty incidents in magnifying the pleasures of human life, when the mind is disposed to avail itself of their power? This magnificent work, with striking defects, has infinite merit. It contains a female head, which in point of expression appeared to me one of the happiest efforts of art, that I ever beheld. I venture to make some observations upon it, in opposition to a sentiment of Sir Joshua Reynolds, who derides those lovers of painting, that fancy they discover in a picture what he thought the pencil could not express, a mixed emotion of the mind. The countenance I allude to is that of the Queen contemplating her new-born child. Her features, if I am not greatly deceived, very clearly and forcibly display the traces of departed pain, and the immediate influence of tenderness and delight. We may learn from the charm of this admirable head, that the most common emotions of nature, when delineated with delicacy and force, are sure to interest and enchant a spectator. The Splendor of Rubens did not strike us blind to the merit of David. His death of Socrates, his Paris and Helen, and his...