Las óleos de todo George Richmond
ID Image  Painting (From A to Z)       Details 
26379  
George Richmond, Abel the Shepherd
  		 Abel the Shepherd   mk49 1825 Tempera on oak, 23x30.8cm
26351  
George Richmond, Christ and the Woman of Samaria
  		 Christ and the Woman of Samaria   mk49 1828
26382  
George Richmond, Christ and the Woman of Samaria
  		 Christ and the Woman of Samaria   mk49 1828 Tempera on wood 41x49.8cm
81611  
George Richmond, Euphemia
  		 Euphemia   1851(1851) Medium Oil on board Dimensions 81 x 53 cm (31.9 x 20.9 in) cyf
28189  
George Richmond, Lord Salisbury
  		 Lord Salisbury   1870-2 Oil on canvas 236.2 x 144.8cm (93 x 57in) Hatfield House,Hertfordshire (mk63)
39836  
George Richmond, Maharani Chund Kowr alias Rani Jindan
  		 Maharani Chund Kowr alias Rani Jindan   mk153 Oil on panel 45.1x61.3cm
26380  
George Richmond, Portrait of an Artist
  		 Portrait of an Artist   mk49 1829
74164  
George Richmond, Portrait of Octavius Wigram
  		 Portrait of Octavius Wigram   Portrait of Octavius Wigram (1794-1878) ca. 1861 cjr
75589  
George Richmond, Portrait of Octavius Wigram
  		 Portrait of Octavius Wigram   ca. 1861 Source 19th century oil painting cyf
26381  
George Richmond, Self-Portrait
  		 Self-Portrait   mk49 1830 Gouache on ivory,oval 8.9x6.8cm
George Richmond
English Painter, 1809-1896 Painter, draughtsman and engraver. He was a precocious draughtsman. In 1824 he entered the Royal Academy, London, the same year as Edward Calvert, who was a part-time student of Joseph Severn. Richmond first exhibited at the Academy in 1825 and that year met William Blake in the Highgate house of John Linnell (ii). Like his lifelong friend Samuel Palmer, Richmond fell under Blake's spell, comparing him to the Prophet Isaiah and forming close friendships with Blake's other disciples, including Calvert. He visited Palmer at Shoreham, chiefly in the summer of 1827, and both he and Calvert became prominent members of Palmer's band of ANCIENTS, who frequented the Kent village in the late 1820s and early 1830s. The tempera panel Abel the Shepherd (1826; London, Tate) is typical of Richmond's early paintings, which reflect the pronounced influence of both Blake and Palmer. They are painted in an archaic style and include Christian and literary themes and high-minded if obscure genre subjects such as the Eve of Separation (1830; Oxford, Ashmolean). The human figure was central to these pictures as it was not for Palmer, who expressed sentiment through landscape motifs. Richmond was also active as a draughtsman and miniaturist during this period; his Christ-like head of Palmer, in watercolour and gouache on vellum (London, N.P.G.), dates from 1829.



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