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In the distance, lighter areas suggest a path leading further into the woods, surrounded by trees and undergrowth.",{"_293":430,"_295":431,"_297":432},"https://img.ochreeditions.com/m/1651.jpg?dl=1","/art/a-dell-at-helmingham-park-suffolk-nga-119643","/galleries/style/georgian-britain/a-dell-at-helmingham-park-suffolk-nga-119643",{"_289":290,"_291":292},{"_223":419,"_125":420,"_283":421},{"_274":415,"_276":416,"_278":417,"_280":418},49,44.166015625,25,20.166015625,{"_285":223,"_123":428,"_154":429,"_140":97},{"_285":125,"_123":425,"_154":426,"_140":427},{"_285":283,"_123":422,"_154":423,"_140":424},"era/19-britain","19th-century Britain",40,"style/print-19","More prints of the 19th century",159,"artist/david-lucas","More by David Lucas","https://img.ochreeditions.com/a/1651/480.jpg","https://img.ochreeditions.com/a/1651/960.jpg","https://img.ochreeditions.com/a/1651/1920.jpg",{"_309":446,"_311":447},{"_309":444,"_311":445},{"_309":442,"_311":443},{"_309":440,"_311":441},{"_309":438,"_311":439},"#cbb99e",0.0447,"#807262",0.0496,"#574d44",0.1716,"#e9d5b8",0.2987,"#403936",0.4354,"David Lucas","david-lucas","British, 1802–1881",1802,1881,"Geddington Chase, Northamptonshire","London","Lucas was a mezzotint engraver best known for his long collaboration with John Constable.","july-from-twelve-months-of-flowers-aic-127986","July, from Twelve Months of Flowers",{"_42":508,"_220":509,"_323":510,"_325":511,"_327":512,"_329":513,"_331":-5,"_332":-5,"_333":-5,"_140":99},"n.d.","Engraving in black ink with opaque and translucent watercolor on cream laid paper","Image: 40.5 × 30.5 cm (16 × 12 1/16 in.); Sheet: 60 × 46.5 cm (23 5/8 × 18 5/16 in.)",30,0.7912998446400829,[493,494,495,496,497],{"_219":489,"_220":490,"_42":491,"_302":492},"Courtesy of the Art Institute of Chicago","1946.404","Henry Fletcher painted this (n.d.), aged about 20. It is now at the Art Institute of Chicago.","The flowers of high summer are gathered into one lavish bouquet in July, one of the plates of Twelve Months of Flowers, which the Kensington nurseryman Robert Furber issued in 1730 to show customers what they could grow in each month of the year. Each bloom is numbered so that it can be matched to its name.","A work made of engraving in black ink with opaque and translucent watercolor on cream laid paper.",{"_293":486,"_295":487,"_297":488},"https://img.ochreeditions.com/m/309.jpg?dl=1","/art/july-from-twelve-months-of-flowers-aic-127986","/galleries/style/georgian-britain/july-from-twelve-months-of-flowers-aic-127986",{"_289":290,"_291":292},{"_223":481,"_125":482,"_283":483},{"_274":478,"_276":479,"_278":480,"_280":424},55.65199378560331,64,31.651993785603313,{"_285":223,"_123":484,"_154":485,"_140":99},{"_285":125,"_123":286,"_154":287,"_140":288},{"_285":283,"_123":165,"_154":164,"_140":167},"artist/henry-fletcher","More by Henry Fletcher","https://img.ochreeditions.com/a/309/480.jpg","https://img.ochreeditions.com/a/309/960.jpg","https://img.ochreeditions.com/a/309/1920.jpg","aic","art-institute-of-chicago","Art Institute of Chicago","Chicago",{"_309":506,"_311":507},{"_309":504,"_311":505},{"_309":502,"_311":503},{"_309":500,"_311":501},{"_309":498,"_311":499},"#766942",0.061,"#684c41",0.0717,"#94856f",0.1271,"#bcb09d",0.3294,"#d2c8b7",0.4108,"Henry Fletcher","henry-fletcher","English, 1710–1750","English",1710,1750,"self-portrait-aic-11706","Self-Portrait",{"_42":565,"_220":566,"_323":567,"_325":511,"_327":568,"_329":569,"_331":-5,"_332":-5,"_333":570,"_140":99},"c. 1779","watercolour","Drawing and Watercolor","Red chalk on cream laid paper","30.6 × 17.5 cm (12 1/16 × 6 15/16 in.)",17,0.5697549441100602,[550,551,552,553,554],{"_219":489,"_220":490,"_42":491,"_302":492},"1924.122","John Flaxman painted this in about 1779, aged about 20. It is now at the Art Institute of Chicago.","John Flaxman drew himself in red chalk around 1779, in his mid-twenties, when he was designing reliefs and portrait medallions for Josiah Wedgwood’s pottery.","A work made of red chalk on cream laid paper.",{"_293":547,"_295":548,"_297":549},"https://img.ochreeditions.com/m/22.jpg?dl=1","/art/self-portrait-aic-11706","/galleries/style/georgian-britain/self-portrait-aic-11706",{"_289":290,"_291":292},{"_223":540,"_125":541,"_283":542},{"_274":537,"_276":538,"_278":539,"_280":462},41.0926483233018,54,17.092648323301805,{"_285":223,"_123":545,"_154":546,"_140":99},{"_285":125,"_123":543,"_154":544,"_140":53},{"_285":283,"_123":165,"_154":164,"_140":167},"style/watercolour-18","More watercolours of the 18th century","artist/john-flaxman","More by John Flaxman","https://img.ochreeditions.com/a/22/480.jpg","https://img.ochreeditions.com/a/22/960.jpg","https://img.ochreeditions.com/a/22/1920.jpg",{"_309":563,"_311":564},{"_309":561,"_311":562},{"_309":559,"_311":560},{"_309":557,"_311":558},{"_309":555,"_311":556},"#d9ae94",0.0642,"#bcb3aa",0.0688,"#ca8a70",0.0739,"#e1cbb5",0.182,"#e1d0be",0.6111,"John Flaxman","john-flaxman","English, 1755–1826",1755,1826,"Flaxman trained at the Royal Academy Schools and first made his name modelling designs for Josiah Wedgwood’s jasperware.","noon-nga-119642","Noon",{"_42":448,"_220":449,"_323":450,"_325":326,"_327":451,"_329":452,"_331":453,"_332":454,"_333":455,"_140":97},"plate: 18.5 x 25.5 cm (7 5/16 x 10 1/16 in.) sheet: 19.5 x 30.6 cm (7 11/16 x 12 1/16 in.)",25.5,18.5,1.3927235634138049,[599,600,601,602,603],{"_219":299,"_220":300,"_42":301,"_302":303},"2001.118.23","Sheep graze on a sloping hillside, watched by a shepherd, while a large dark tree anchors the right side and the land falls away to open fields under a broad sky.","The image shows a landscape with a rolling hill in the foreground sloping downward. The horizon is high, providing a view over fields and sky. Sheep graze on the hill, tended by a person. A large, dark tree is on the right. Brushstrokes vary in the sky and land, with broad strokes for clouds and finer ones for grass and foliage. The color palette is mainly black, white, and shades of grey, highlighting light and shadow.",{"_293":596,"_295":597,"_297":598},"https://img.ochreeditions.com/m/1650.jpg?dl=1","/art/noon-nga-119642","/galleries/style/georgian-britain/noon-nga-119642",{"_289":290,"_291":292},{"_223":593,"_125":594,"_283":595},{"_274":590,"_276":591,"_278":575,"_280":592},49.5,42.3094482421875,18.3094482421875,{"_285":223,"_123":428,"_154":429,"_140":97},{"_285":125,"_123":425,"_154":426,"_140":427},{"_285":283,"_123":422,"_154":423,"_140":424},"https://img.ochreeditions.com/a/1650/480.jpg","https://img.ochreeditions.com/a/1650/960.jpg","https://img.ochreeditions.com/a/1650/1920.jpg",{"_309":612,"_311":613},{"_309":610,"_311":611},{"_309":608,"_311":609},{"_309":606,"_311":607},{"_309":604,"_311":605},"#6f685f",0.1663,"#403f3c",0.1708,"#999085",0.1917,"#c4b9ae",0.2337,"#ebe2d6",0.2375,"phasianus-versicolor-nga-53855","Phasianus Versicolor",{"_42":658,"_220":659,"_323":660,"_325":661,"_327":662,"_329":663,"_331":-5,"_332":-5,"_333":-5,"_140":101},"hand-colored etching","sheet: 10.8 × 17 cm (4 1/4 × 6 11/16 in.)",10.8,1.593774319066148,[643,644,645,646,647],{"_219":299,"_220":300,"_42":301,"_302":303},"1973.26.28","William Home Lizars made this. It is now at the National Gallery of Art in Washington, DC.","The image shows a pheasant with vivid green and blue plumage and intricate golden patterns on its wings. The bird has long, patterned tail feathers extended to the right. The background includes palm trees, rocky outcrops, and distant hills.",{"_293":640,"_295":641,"_297":642},"https://img.ochreeditions.com/m/1565.jpg?dl=1","/art/phasianus-versicolor-nga-53855","/galleries/style/georgian-britain/phasianus-versicolor-nga-53855",{"_289":290,"_291":292},{"_223":635,"_125":636,"_283":637},{"_274":415,"_276":633,"_278":417,"_280":634},39.68603515625,15.686035156249998,{"_285":223,"_123":638,"_154":639,"_140":89},{"_285":125,"_123":286,"_154":287,"_140":288},{"_285":283,"_123":165,"_154":164,"_140":167},"artist/contemporaries-of-william-home-lizars","William Home Lizars's contemporaries","https://img.ochreeditions.com/a/1565/480.jpg","https://img.ochreeditions.com/a/1565/960.jpg","https://img.ochreeditions.com/a/1565/1920.jpg",{"_309":656,"_311":657},{"_309":654,"_311":655},{"_309":652,"_311":653},{"_309":650,"_311":651},{"_309":648,"_311":649},"#294d6a",0.0227,"#666947",0.0414,"#94826b",0.0805,"#c2b295",0.216,"#e5d4b6",0.6394,"William Home Lizars","william-home-lizars","Scottish, 1788–1859","Scottish",1788,1859,"stoke-by-neyland-nga-119641","Stoke-by-Neyland",{"_42":448,"_220":449,"_323":450,"_325":326,"_327":451,"_329":452,"_331":453,"_332":454,"_333":455,"_140":97},"mezzotint on laid paper [proof]","plate: 18.5 x 25.2 cm (7 5/16 x 9 15/16 in.) sheet: 19.3 x 30.6 cm (7 5/8 x 12 1/16 in.)",25.2,1.4041823791566679,[692,693,694,695,696],{"_219":299,"_220":300,"_42":301,"_302":303},"2001.118.27","The tower of the church at Stoke-by-Nayland, a Suffolk village near John Constable’s birthplace, rises among trees beneath a sky of heavy, expressive cloud, while two figures work and walk along a winding road.","The image displays a landscape with a high vantage point. The horizon is low, with a row of trees. A church tower is off-center to the left. The church is surrounded by trees and buildings. A line of trees is on the right side. The sky has large, expressive clouds. A monochromatic palette of gray is used. A path winds through the scene, with two figures: one person working and another walking.",{"_293":689,"_295":690,"_297":691},"https://img.ochreeditions.com/m/1649.jpg?dl=1","/art/stoke-by-neyland-nga-119641","/galleries/style/georgian-britain/stoke-by-neyland-nga-119641",{"_289":290,"_291":292},{"_223":686,"_125":687,"_283":688},{"_274":683,"_276":684,"_278":669,"_280":685},49.2,41.94638671875,17.94638671875,{"_285":223,"_123":428,"_154":429,"_140":97},{"_285":125,"_123":425,"_154":426,"_140":427},{"_285":283,"_123":422,"_154":423,"_140":424},"https://img.ochreeditions.com/a/1649/480.jpg","https://img.ochreeditions.com/a/1649/960.jpg","https://img.ochreeditions.com/a/1649/1920.jpg",{"_309":705,"_311":706},{"_309":703,"_311":704},{"_309":701,"_311":702},{"_309":699,"_311":700},{"_309":697,"_311":698},"#bfac92",0.1024,"#8d7d6c",0.1299,"#62564c",0.1729,"#ddcaaf",0.267,"#3a3431",0.3278,"theophilia-gwatkin-aic-251126","Theophilia Gwatkin",{"_42":754,"_220":755,"_323":756,"_325":326,"_327":757,"_329":758,"_331":759,"_332":454,"_333":760,"_140":95},"1776–81","Oil on canvas","73.7 × 61 cm (29 × 24 in.); Framed: 96.6 × 84.7 × 7 cm (38 × 33 3/8 × 2 3/4 in.)",61,73,0.8375446960667461,[739,740,741,742,743],{"_219":489,"_220":490,"_42":491,"_302":492},"2019.1236","Joshua Reynolds painted this in 1776–81, aged about 53. It is now at the Art Institute of Chicago.","A work made of oil on canvas.",{"_293":736,"_295":737,"_297":738},"https://img.ochreeditions.com/m/389.jpg?dl=1","/art/theophilia-gwatkin-aic-251126","/galleries/style/georgian-britain/theophilia-gwatkin-aic-251126",{"_289":369,"_291":370},{"_223":731,"_125":732,"_283":733},{"_274":728,"_276":729,"_278":730,"_280":714},76.14076281287247,88,61.14076281287247,{"_285":223,"_123":734,"_154":735,"_140":95},{"_285":125,"_123":364,"_154":365,"_140":366},{"_285":283,"_123":165,"_154":164,"_140":167},"artist/joshua-reynolds","More by Joshua Reynolds","https://img.ochreeditions.com/a/389/480.jpg","https://img.ochreeditions.com/a/389/960.jpg","https://img.ochreeditions.com/a/389/1920.jpg",{"_309":752,"_311":753},{"_309":750,"_311":751},{"_309":748,"_311":749},{"_309":746,"_311":747},{"_309":744,"_311":745},"#78623f",0.068,"#a08052",0.0868,"#50442f",0.0897,"#221f1a",0.2844,"#322a1a",0.4711,"Joshua Reynolds","joshua-reynolds","English, 1723–1792",1723,1792,"Plympton","Reynolds trained in London under Thomas Hudson, then spent two years in Italy studying the old masters, an experience that shaped his ambition to raise portraiture to the dignity of history painting.","angel-of-the-revelation-book-of-revelation-chapter-10-met-340852","Angel of the Revelation (Book of Revelation, chapter 10)",{"_42":818,"_220":819,"_323":820,"_325":326,"_327":821,"_329":822,"_331":454,"_332":454,"_333":-5,"_140":103},"ca. 1803–5","drawing","Drawings","Watercolor, pen and black ink, brush and wash, over traces of graphite","Sheet: 15 7/16 × 10 1/4 in. (39.2 × 26 cm)",26,39.2,0.6700689655172414,[803,804,805,806,807],{"_219":799,"_220":800,"_42":801,"_302":802},"Courtesy of The Metropolitan Museum of Art","14.81.1","William Blake painted this in about 1803–5, aged about 41. It is now at The Met in New York.","Angel of the Revelation (Book of Revelation, chapter 10), by William Blake, ca. 1803–5",{"_293":796,"_295":797,"_297":798},"https://img.ochreeditions.com/m/1037.jpg?dl=1","/art/angel-of-the-revelation-book-of-revelation-chapter-10-met-340852","/galleries/style/georgian-britain/angel-of-the-revelation-book-of-revelation-chapter-10-met-340852",{"_289":290,"_291":292},{"_223":788,"_125":789,"_283":790},{"_274":785,"_276":786,"_278":787,"_280":770},50.26670344827586,63.2,26.266703448275862,{"_285":223,"_123":794,"_154":795,"_140":89},{"_285":125,"_123":791,"_154":792,"_140":793},{"_285":283,"_123":165,"_154":164,"_140":167},"style/drawing-18","More drawings of the 18th century",31,"artist/contemporaries-of-william-blake","William Blake's contemporaries","https://img.ochreeditions.com/a/1037/480.jpg","https://img.ochreeditions.com/a/1037/960.jpg","https://img.ochreeditions.com/a/1037/1920.jpg","met","the-met","The Metropolitan Museum of Art","New York",{"_309":816,"_311":817},{"_309":814,"_311":815},{"_309":812,"_311":813},{"_309":810,"_311":811},{"_309":808,"_311":809},"#56534e",0.1228,"#9d937f",0.2009,"#7d7669",0.2195,"#c1b095",0.2267,"#e6c69f",0.2301,"William Blake","william-blake","British, 1757–1827",1757,1827,"landscape-with-picnickers-and-donkeys-by-a-gate-nga-1151","Landscape with Picnickers and Donkeys by a Gate",{"_42":872,"_220":873,"_323":874,"_325":326,"_327":875,"_329":876,"_331":-5,"_332":-5,"_333":-5,"_140":103},"c. 1830-1880","overall: 123.2 x 99 cm (48 1/2 x 39 in.)",99,123.2,0.79638671875,[857,858,859,860,861],{"_219":299,"_220":300,"_42":301,"_302":303},"1942.9.14","Joseph Paul painted this in about 1830-1880, aged about 26. It is now at the National Gallery of Art in Washington, DC.","This painting shows a serene pastoral scene with trees, a wooden gate, and foliage extending towards the horizon. Closest to us, there is a low riverbank with some tree branches in the water. Up a grassy dirt hill, two donkeys are visible off to the right, partially hidden by vegetation. On the left, a dirt path leads to the wooden gate. To the left of the gate, two people sit on the grass with a wicker basket between them. The tall trees that rise in the background have leaves in shades of green, yellow, and dark orange. The sky above the scene is yellow with some hints of light blue, and golden light shines down on the landscape.",{"_293":854,"_295":855,"_297":856},"https://img.ochreeditions.com/m/1331.jpg?dl=1","/art/landscape-with-picnickers-and-donkeys-by-a-gate-nga-1151","/galleries/style/georgian-britain/landscape-with-picnickers-and-donkeys-by-a-gate-nga-1151",{"_289":369,"_291":370},{"_223":846,"_125":847,"_283":848},{"_274":843,"_276":844,"_278":845,"_280":829},113.11484375,138.2,98.11484375,{"_285":223,"_123":852,"_154":853,"_140":89},{"_285":125,"_123":849,"_154":850,"_140":851},{"_285":283,"_123":422,"_154":423,"_140":424},"style/painting-19","More paintings of the 19th century",432,"artist/contemporaries-of-joseph-paul","Joseph Paul's contemporaries","https://img.ochreeditions.com/a/1331/480.jpg","https://img.ochreeditions.com/a/1331/960.jpg","https://img.ochreeditions.com/a/1331/1920.jpg",{"_309":870,"_311":871},{"_309":868,"_311":869},{"_309":866,"_311":867},{"_309":864,"_311":865},{"_309":862,"_311":863},"#b4864a",0.1225,"#7f6040",0.1471,"#574a3e",0.2102,"#dcbe7c",0.2589,"#31363a",0.2613,"Joseph Paul","joseph-paul","British, 1804–1887",1804,1887,"joshua-commanding-the-sun-to-stand-still-upon-gibeon-nga-129865","Joshua Commanding the Sun to Stand Still upon Gibeon",{"_42":923,"_220":924,"_323":925,"_325":326,"_327":926,"_329":927,"_331":-5,"_332":-5,"_333":-5,"_140":103},"1816","overall: 150 x 231 cm (59 1/16 x 90 15/16 in.)",231,150,1.522110739502044,[908,909,910,911,912],{"_219":299,"_220":300,"_42":301,"_302":303},"2004.64.1","John Martin painted this in 1816, aged 27. It is now at the National Gallery of Art in Washington, DC.","Armies of men march and battle along a rocky outcropping set among huge rock formations and massive buildings under a stormy sky in this horizontal landscape painting. The people we can see all have pale skin. Sheets of rain fall from flint-gray clouds on our left into a valley, though hints of peach brighten the clouds along the mountainous horizon there. In the right half of the sky, light pours down from a brilliant white sun that breaks through white clouds to reveal topaz-blue patches of sky. The horizon comes about halfway up the composition and is lined with rugged white, pale pink, and olive-green mountains on our left and silvery-white buildings along the right half. These structures include two domed buildings and a colosseum among many others. The buildings are all enclosed within city walls buttressed with towers. The land dips precipitously from the rocky cliffs supporting the buildings, to sweep down toward us. A huge outcropping angles up like a ramp between us and the buildings in the distance. A road runs from the walled town toward us, down along the ridge and in front of the outcropping. Countless warriors march in rows of four or five across on the road past a man wearing a feathered helmet and armored breastplate. This man, Joshua, stands on a rocky precipice facing away from us with his right hand raised. He wears a scarlet-red toga under his breastplate, and a royal-blue cape flutters at his left side. He holds a round, copper-colored shield and a spear in his other hand. Two men with gray beards stand near Joshua with their backs to us. Both gesture up to the sky. One holds a slender staff and the other a curling horn. They and another pair of men, who stoop to hold poles used to carry a chest, all wear long, ivory-white robes, cherry-red drapery, and white turbans. The column of soldiers on foot and horseback pass in front of Joshua to a massive battlefield to our left. The fight takes place in a valley that leads back to a river. A bolt of lightning zigzags from the storm clouds and strikes a city in the deep distance. The artist signed the painting in the lower right, “J. Martin.”",{"_293":905,"_295":906,"_297":907},"https://img.ochreeditions.com/m/1655.jpg?dl=1","/art/joshua-commanding-the-sun-to-stand-still-upon-gibeon-nga-129865","/galleries/style/georgian-britain/joshua-commanding-the-sun-to-stand-still-upon-gibeon-nga-129865",{"_289":369,"_291":370},{"_223":900,"_125":901,"_283":902},{"_274":897,"_276":898,"_278":882,"_280":899},246,166.762939453125,151.762939453125,{"_285":223,"_123":903,"_154":904,"_140":89},{"_285":125,"_123":849,"_154":850,"_140":851},{"_285":283,"_123":422,"_154":423,"_140":424},"artist/contemporaries-of-john-martin","John Martin's contemporaries","https://img.ochreeditions.com/a/1655/480.jpg","https://img.ochreeditions.com/a/1655/960.jpg","https://img.ochreeditions.com/a/1655/1920.jpg",{"_309":921,"_311":922},{"_309":919,"_311":920},{"_309":917,"_311":918},{"_309":915,"_311":916},{"_309":913,"_311":914},"#adaa9f",0.1053,"#7c756a",0.1295,"#1a1609",0.2377,"#4e4a3c",0.2526,"#342a17",0.2749,"John Martin","john-martin","British, 1789–1854",1789,1854,"mr-quick-as-vellum-in-addison-s-drummer-aic-256186","Mr. Quick as Vellum in Addison's Drummer",{"_42":973,"_220":974,"_323":975,"_325":511,"_327":976,"_329":977,"_331":-5,"_332":-5,"_333":-5,"_140":103},"1792","36.8 × 27.9 cm (14 1/2 × 11 in.); Framed: 46.4 × 38.1 × 6 cm (18 1/4 × 15 × 2 3/8 in.)",27,36,0.7591623036649214,[958,959,960,961,962],{"_219":489,"_220":490,"_42":491,"_302":492},"2020.59","Samuel De Wilde painted this in 1792, aged 44. It is now at the Art Institute of Chicago.",{"_293":955,"_295":956,"_297":957},"https://img.ochreeditions.com/m/391.jpg?dl=1","/art/mr-quick-as-vellum-in-addison-s-drummer-aic-256186","/galleries/style/georgian-britain/mr-quick-as-vellum-in-addison-s-drummer-aic-256186",{"_289":369,"_291":370},{"_223":950,"_125":951,"_283":952},{"_274":947,"_276":948,"_278":949,"_280":934},42.32984293193717,51,27.329842931937172,{"_285":223,"_123":953,"_154":954,"_140":89},{"_285":125,"_123":364,"_154":365,"_140":366},{"_285":283,"_123":165,"_154":164,"_140":167},"artist/contemporaries-of-samuel-de-wilde","Samuel De Wilde's contemporaries","https://img.ochreeditions.com/a/391/480.jpg","https://img.ochreeditions.com/a/391/960.jpg","https://img.ochreeditions.com/a/391/1920.jpg",{"_309":971,"_311":972},{"_309":969,"_311":970},{"_309":967,"_311":968},{"_309":965,"_311":966},{"_309":963,"_311":964},"#89694e",0.141,"#26261b",0.1523,"#351e16",0.1745,"#553e2e",0.1862,"#4a4b3c",0.346,"Samuel De Wilde","samuel-de-wilde","English, 1748–1832",1748,1832,"william-pitt-nga-52264","William Pitt",{"_42":1025,"_220":1026,"_323":1027,"_325":326,"_327":1028,"_329":1029,"_331":-5,"_332":-5,"_333":1030,"_140":99},"1787/1796","oil on board","overall: 15.5 x 12.4 cm (6 1/8 x 4 7/8 in.) framed: 29.8 x 27.6 x 5 cm (11 3/4 x 10 7/8 x 1 15/16 in.)",12.4,15.5,0.78515625,[1010,1011,1012,1013,1014],{"_219":299,"_220":300,"_42":301,"_302":303},"1970.17.120","Gainsborough Dupont painted this in 1787/1796, aged about 33. It is now at the National Gallery of Art in Washington, DC.","William Pitt the Younger, who became prime minister in 1783 at the age of twenty-four, is shown half-length in a dark coat with red lapels and brass buttons, his face turned towards us.","The image depicts a portrait of an individual with the upper half of their body visible. The person is facing forward with their head slightly turned to the side, looking directly at the viewer. They have a fair complexion, with distinct facial features, including a rounded face and closed lips. The hair is styled in an 18th-century manner, with curls around the ears. They are wearing a dark coat with red lapels and brass buttons, over a white shirt with ruffled details. There are no visible jewelry or objects in their hands. The background is a textured, earth-toned surface.",{"_293":1007,"_295":1008,"_297":1009},"https://img.ochreeditions.com/m/1551.jpg?dl=1","/art/william-pitt-nga-52264","/galleries/style/georgian-britain/william-pitt-nga-52264",{"_289":369,"_291":370},{"_223":1002,"_125":1003,"_283":1004},{"_274":1000,"_276":424,"_278":1001,"_280":417},34.62890625,19.62890625,{"_285":223,"_123":1005,"_154":1006,"_140":99},{"_285":125,"_123":364,"_154":365,"_140":366},{"_285":283,"_123":165,"_154":164,"_140":167},"artist/gainsborough-dupont","More by Gainsborough Dupont","https://img.ochreeditions.com/a/1551/480.jpg","https://img.ochreeditions.com/a/1551/960.jpg","https://img.ochreeditions.com/a/1551/1920.jpg",{"_309":1023,"_311":1024},{"_309":1021,"_311":1022},{"_309":1019,"_311":1020},{"_309":1017,"_311":1018},{"_309":1015,"_311":1016},"#85341a",0.0178,"#c4a66d",0.0716,"#584531",0.2222,"#2e302c",0.2272,"#7e663a",0.4612,"Gainsborough Dupont","gainsborough-dupont","British, 1754–1797",1754,1797,"Gainsborough Dupont was the nephew of Thomas Gainsborough and his only known apprentice, trained in his uncle’s studio in Bath and then London, where he absorbed his style closely.","saint-john-the-evangelist-nga-54043","Saint John the Evangelist",{"_42":1076,"_220":1077,"_323":1078,"_325":326,"_327":1079,"_329":1080,"_331":-5,"_332":-5,"_333":-5,"_140":101},"1771","chiaroscuro woodcut in light and dark olive green","sheet: 19.7 × 15.3 cm (7 3/4 × 6 in.) other (text beneath image): 3.2 × 15.2 cm (1 1/4 × 6 in.) mount (irreg.): 43.7 × 31.9 cm (17 3/16 × 12 9/16 in.)",15.3,19.7,0.742431640625,[1062,1063,1064,1065,1066],{"_219":299,"_220":300,"_42":301,"_302":303},"1973.58.2","John Skippe made this in 1771, aged 29. It is now at the National Gallery of Art in Washington, DC.","This is a drawing of a seated figure on a large bird. The image depicts a classically draped figure seated on a stylized bird. The figure holds an open book and gazes into the distance. The bird has sharp features and spread wings. The background contains swirling clouds. The scene is framed with a border, and there is text at the bottom. The lines are bold and the shades are muted.",{"_293":1059,"_295":1060,"_297":1061},"https://img.ochreeditions.com/m/1571.jpg?dl=1","/art/saint-john-the-evangelist-nga-54043","/galleries/style/georgian-britain/saint-john-the-evangelist-nga-54043",{"_289":290,"_291":292},{"_223":1054,"_125":1055,"_283":1056},{"_274":1052,"_276":415,"_278":1053,"_280":417},42.560791015625,18.560791015625,{"_285":223,"_123":1057,"_154":1058,"_140":89},{"_285":125,"_123":286,"_154":287,"_140":288},{"_285":283,"_123":165,"_154":164,"_140":167},"artist/contemporaries-of-john-skippe","John Skippe's contemporaries","https://img.ochreeditions.com/a/1571/480.jpg","https://img.ochreeditions.com/a/1571/960.jpg","https://img.ochreeditions.com/a/1571/1920.jpg",{"_309":1074,"_311":1075},{"_309":1072,"_311":1073},{"_309":1071,"_311":968},{"_309":1069,"_311":1070},{"_309":1067,"_311":1068},"#b69e75",0.1243,"#877257",0.1513,"#9a8362","#cab68c",0.2161,"#d5c39a",0.3338,"John Skippe","john-skippe","British, 1742–1812",1742,1811,"anna-maria-dashwood-later-marchioness-of-ely-aic-75374","Anna Maria Dashwood, later Marchioness of Ely",{"_42":1126,"_220":1127,"_323":1128,"_325":326,"_327":1129,"_329":1130,"_331":1131,"_332":454,"_333":1132,"_140":91},"c. 1805","78.1 × 65.5 cm (30 3/4 × 25 3/4 in.)",65,78,0.8287557603686636,[1111,1112,1113,1114,1115],{"_219":489,"_220":490,"_42":491,"_302":492},"1951.199","Thomas Lawrence painted this in about 1805, aged about 31. It is now at the Art Institute of Chicago.",{"_293":1108,"_295":1109,"_297":1110},"https://img.ochreeditions.com/m/191.jpg?dl=1","/art/anna-maria-dashwood-later-marchioness-of-ely-aic-75374","/galleries/style/georgian-britain/anna-maria-dashwood-later-marchioness-of-ely-aic-75374",{"_289":369,"_291":370},{"_223":1103,"_125":1104,"_283":1105},{"_274":1100,"_276":1101,"_278":1102,"_280":1087},79.64294930875576,93,64.64294930875576,{"_285":223,"_123":1106,"_154":1107,"_140":91},{"_285":125,"_123":364,"_154":365,"_140":366},{"_285":283,"_123":165,"_154":164,"_140":167},"artist/thomas-lawrence","More by Thomas Lawrence","https://img.ochreeditions.com/a/191/480.jpg","https://img.ochreeditions.com/a/191/960.jpg","https://img.ochreeditions.com/a/191/1920.jpg",{"_309":1124,"_311":1125},{"_309":1122,"_311":1123},{"_309":1120,"_311":1121},{"_309":1118,"_311":1119},{"_309":1116,"_311":1117},"#8f7051",0.1285,"#b49a78",0.163,"#5f492a",0.1648,"#352815",0.2238,"#19140d",0.3199,"Thomas Lawrence","thomas-lawrence","English, 1769–1830",1769,1830,"Bristol","Lawrence was a child prodigy in pastel portraiture and largely self-taught. He moved to London as a teenager, exhibited a full-length of Queen Charlotte at the Royal Academy at twenty-one, and succeeded Joshua Reynolds as Painter in Ordinary to George III.",{"_1134":-5,"_1135":1136,"_1137":1138,"_1139":8,"_1140":1141,"_1142":8},"user","csrf","62dbfc16556a9456deb13c9d39cfb14347efe376","cartCount",0,"dropLive","legal",[1143,1144,1145,1146,1147,1148,1149,1150,1151,1152,1153,1154],"uploadsEnabled",{"_220":1177,"_20":1178},{"_220":1175,"_20":1176},{"_220":1173,"_20":1174},{"_220":1171,"_20":1172},{"_220":1169,"_20":1170},{"_220":1167,"_20":1168},{"_220":1165,"_20":1166},{"_220":1163,"_20":1164},{"_220":1161,"_20":1162},{"_220":1159,"_20":1160},{"_220":1157,"_20":1158},{"_220":1155,"_20":1156},"credits","Open-Access Credits","accessibility","Accessibility Statement","vulnerability-disclosure","Vulnerability Disclosure Policy","own-photo","Printing Your Own Photo","copyright","Copyright and DMCA Policy","agents","Agent & API Terms","acceptable-use","Acceptable Use Policy","cookies","Cookie Policy","privacy","Privacy Policy","limited-editions","Limited Editions and Certificates","sale","Terms of Sale","terms","Terms of Use"]