All George Richmond 's Paintings
The Painting Names Are Sorted From A to Z

Choice ID Image  Paintings (From A to Z)       Details 
26379 Abel the Shepherd  Abel the Shepherd   mk49 1825 Tempera on oak, 23x30.8cm
26351 Christ and the Woman of Samaria  Christ and the Woman of Samaria   mk49 1828
26382 Christ and the Woman of Samaria  Christ and the Woman of Samaria   mk49 1828 Tempera on wood 41x49.8cm
81611 Euphemia  Euphemia   1851(1851) Medium Oil on board Dimensions 81 x 53 cm (31.9 x 20.9 in) cyf
28189 Lord Salisbury  Lord Salisbury   1870-2 Oil on canvas 236.2 x 144.8cm (93 x 57in) Hatfield House,Hertfordshire (mk63)
39836 Maharani Chund Kowr alias Rani Jindan  Maharani Chund Kowr alias Rani Jindan   mk153 Oil on panel 45.1x61.3cm
26380 Portrait of an Artist  Portrait of an Artist   mk49 1829
74164 Portrait of Octavius Wigram  Portrait of Octavius Wigram   Portrait of Octavius Wigram (1794-1878) ca. 1861 cjr
75589 Portrait of Octavius Wigram  Portrait of Octavius Wigram   ca. 1861 Source 19th century oil painting cyf
26381 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.

China Oil Painting Studio Team