Alla Allan Ramsays Oljemålningar
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| ID |
Bilder |
Oljemålningar Från A till Z |
Information |
| 73326 |
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A painting of Norman MacLeod |
A painting of Norman MacLeod (1705-1722), chief of Clan MacLeod.Mid 18th century; about 1747.
cjr |
| 76976 |
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Charlotte of Mecklenburg-Strelitz with two of her children |
1765
cjr |
| 80423 |
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Charlotte of Mecklenburg-Strelitz with two of her children |
1765(1765)
Medium Oil
cyf |
| 56131 |
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david hume |
mk247
1766,oil on canvas,30x25 in,76.2x63.5 cm,scottish national portrait gallery,edinburgh,uk |
| 24299 |
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George III (mk25) |
1760-61 |
| 98092 |
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John Fitzgerald Villiers |
oil on canvas
127 x 101.5 cm
cyf |
| 75854 |
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King George III |
1761-1762
Oil on canvas
147 ?? 106 cm (57.87 ?? 41.73 in)
cjr |
| 75986 |
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King George III |
1761-1762
Oil on canvas
147 ?? 106 cm (57.9 ?? 41.7 in)
cjr |
| 77923 |
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King George III |
1761-1762
Medium Oil on canvas
Dimensions 147 ?? 106 cm (57.9 ?? 41.7 in)
cyf |
| 77660 |
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King George III |
Date 1761-1762
Medium Oil on canvas
Dimensions 147 ?? 106 cm (57.9 ?? 41.7 in)
cyf |
| 3281 |
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Lady Robert Manners |
c1756
National Gallery of Scotland, Edinburgh |
| 53847 |
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Margaret Lindsay, Mrs. Allan Ramsay |
mk234
early 1760's
68x55cm |
| 87369 |
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Miss Craigie |
Oil on Canvas. 30 x 24 3/4 in. (76 x 63 cm).
Date 1741(1741)
cjr |
| 92192 |
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Miss Craigie |
Oil on Canvas. 30 x 24 3/4 in. (76 x 63 cm).
Date 1741(1741)
cyf |
| 3280 |
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Mrs Martin |
1761
Birmingham City Museum and Art Gallery |
| 68104 |
|
National Gallery of Scotland |
Description 4thEarlOfLoudoun.jpg
English: John Campbell, 4th Earl of Loudoun |
| 78104 |
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Portrait of David Hume (1711-1776), Historian and Philosopher |
1766(1766)
Oil on canvas
76.2 x 63.5 cm (30 x 25 in)
cjr |
| 60187 |
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Portrait of David Hume by Allan Ramsay, |
Portrait of David Hume by Allan Ramsay, 1766. |
| 60188 |
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Portrait of George III, circa 1762. |
Portrait of George III, circa 1762.1762. |
| 81773 |
|
Portrait of John Campbell |
1750(1750)
Medium Oil on canvas
Dimensions 76.8 x 64 cm (30.2 x 25.2 in)
cyf |
| 83626 |
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Portrait of Lady Mary Coke |
18th century
Medium Oil
cyf |
| 79791 |
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Portrait of Lady Susan Fox Strangways |
1761(1761)
Medium Oil
cyf |
| 79103 |
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Portrait of Lady Susan Fox-Strangways |
Date 1761(1761)
Medium Oil
cyf
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| 96650 |
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Portrait of Queen Charlotte |
circa between 1760(1760) and 1800(1800)
Medium oil on canvas
Dimensions 286 X 196 cm (112.6 X 77.2 in) (frame)
cjr |
| 74977 |
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Portrat der Mary Atkins |
1761
Oil on canvas
127 X 102 cm
cjr |
| 76587 |
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Portrat der Mary Atkins |
Date 1761
Medium Oil on canvas
Dimensions Deutsch: 127 ?? 102 cm
cyf |
| 82455 |
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Portrat des Jean |
1766(1766)
Medium Oil on canvas
Dimensions 75 x 62 cm (29.5 x 24.4 in)
cyf |
| 79566 |
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Portrat des Jean-Jacques Rousseau |
1766(1766)
Oil on canvas
75 x 62 cm (29.5 x 24.4 in)
cjr |
| 24300 |
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Queen Charlotte (mk25) |
1761-2 |
| 60189 |
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Queen Charlotte as painted by Allan Ramsay in 1762. |
Queen Charlotte as painted by Allan Ramsay in 1762. |
| 60185 |
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Ramsay first wife, Anne Bayne, by Ramsay |
Ramsay's first wife, Anne Bayne, by Ramsay |
| 60186 |
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Ramsay second wife Margaret Lindsay, by Ramsay |
Ramsay's second wife Margaret Lindsay, by Ramsay |
| 82590 |
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Self portrait |
1737-1739
Medium Oil on canvas
Dimensions 61 x 46.4 cm (24 x 18.3 in)
cyf |
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| Allan Ramsay
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| 1713-1784
British Allan Ramsay Galleries
Allan Ramsay was born in Edinburgh, Scotland, the eldest son of Allan Ramsay, poet and author of The Gentle Shepherd.
Ramsay's first wife, Anne Bayne, by Ramsay
Ramsay's second wife Margaret Lindsay, by RamsayFrom the age of twenty he studied in London under the Swedish painter Hans Huyssing, and at the St. Martin's Lane Academy; leaving in 1736 for Rome and Naples, where he worked for three years under Francesco Solimena and Imperiali (Francesco Fernandi). On his return in 1738 he first settled in Edinburgh, attracting attention by his head of Duncan Forbes of Culloden and his full-length portrait of the Duke of Argyll, later used on Royal Bank of Scotland banknotes. He later moved to London, where he was employed by the Duke of Bridgewater. His pleasant manners and varied culture, not less than his artistic skill, contributed to render him popular. His only serious competitor was Thomas Hudson, with whom he shared a drapery painter, Joseph van Aken. In 1739 he married his first wife, Anne Bayne, the daughter of a professor of Scots law at Edinburgh, Alexander Bayne of Rires (c.1684?C1737), and Mary Carstairs (1695??C1759). None of their 3 children survived childhood, and she died on 4 February 1743 giving birth to the third of them.
One of his drawing pupils was Margaret Lindsay, eldest daughter of Sir Alexander Lindsay of Evelick and Amelia Murray (granddaughter to David Murray, 5th Viscount of Stormont and sister to the naval officer John Lindsay). He later eloped with her and on 1 March 1752 they married in the Canongate Kirk, Edinburgh, though her father never forgave her for marrying an artist. Ramsay already had to maintain a daughter from his previous marriage as well as his two surviving sisters, but told Sir Alexander that he could provide Margaret with an annual income of £100 which would increase ??as my affairs increase, and I thank God, they are in a way of increasing?? and that his only motive for the marriage was ??my love for your Daughter, who, I am sensible, is entitled to much more than ever I shall have to bestow upon her??. There were three surviving children from their long and happy marriage, Amelia (1755?C1813), Charlotte (1758?C1818?), and John (1768?C1845).
Ramsay and his new wife spent 1754?C1757 together in Italy, going to Rome, Florence, Naples and Tivoli, researching, painting and drawing old masters, antiquities and archaeological sites, and (to earn an income) painting Grand Tourists' portraits. This and other trips to Italy involved more literary and antiquarian research than art. After their return, he was in 1761 appointed to succeed John Shackelton as Principle Painter in Ordinary to George III, beating Hudson to the post; and so fully employed was he on the royal portraits which the king was in the habit of presenting to ambassadors and colonial governors, that he was forced to take advantage of the services of a host of assistants--of whom David Martin and Philip Reinagle are the best known.
He gave up painting in about 1770 to concentrate on literary pursuits, his health shattered by an accidental dislocation of the right arm and his second wife's death in 1782. With unflinching pertinacity, he struggled until he had completed a likeness of the king upon which he was engaged at the time, and then started for his beloved Italy, leaving behind him a series of fifty royal portraits to be completed by his assistant Reinagle. For several years he lingered in the south, his constitution finally broken. He died at Dover on 10 August 1784.
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