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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George Richmond Lord Salisbury oil painting


Lord Salisbury
1870-2 Oil on canvas 236.2 x 144.8cm (93 x 57in) Hatfield House,Hertfordshire (mk63)
Painting ID::  28189
George Richmond
Lord Salisbury
1870-2 Oil on canvas 236.2 x 144.8cm (93 x 57in) Hatfield House,Hertfordshire (mk63)
   
   
     

George Richmond Maharani Chund Kowr alias Rani Jindan oil painting


Maharani Chund Kowr alias Rani Jindan
mk153 Oil on panel 45.1x61.3cm
Painting ID::  39836
George Richmond
Maharani Chund Kowr alias Rani Jindan
mk153 Oil on panel 45.1x61.3cm
   
   
     

George Richmond Portrait of Octavius Wigram oil painting


Portrait of Octavius Wigram
Portrait of Octavius Wigram (1794-1878) ca. 1861 cjr
Painting ID::  74164
George Richmond
Portrait of Octavius Wigram
Portrait of Octavius Wigram (1794-1878) ca. 1861 cjr
   
   
     

George Richmond Portrait of Octavius Wigram oil painting


Portrait of Octavius Wigram
ca. 1861 Source 19th century oil painting cyf
Painting ID::  75589
George Richmond
Portrait of Octavius Wigram
ca. 1861 Source 19th century oil painting cyf
   
   
     

George Richmond Euphemia oil painting


Euphemia
1851(1851) Medium Oil on board Dimensions 81 x 53 cm (31.9 x 20.9 in) cyf
Painting ID::  81611
George Richmond
Euphemia
1851(1851) Medium Oil on board Dimensions 81 x 53 cm (31.9 x 20.9 in) cyf
   
   
     

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     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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