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Richard Cosway RA (5 November 1742 – 4 July 1821) was a leading English portrait painter of the Georgian and Regency era, noted for his miniatures. He was a contemporary of John Smart , George Engleheart , William Wood, and Richard Crosse .
Cosway's finest miniatures are signed on the back; there is but one genuine signed on the face; very few bear even his initials on the front. George Engleheart (1750–1829) painted 4,900 miniatures; it is often signed E or G.E. Andrew Plimer (1763–1837) was a pupil of Cosway, and both he and his brother Nathaniel Plimer produced some lovely ...
Portrait of John Dyer Collier, circa 1785, by George Engleheart; watercolour on ivory; V&A Museum no. P.76-1910 [1] Victoria and Albert Museum, London. George Engleheart (1750–1829) was an English painter of portrait miniatures, and a contemporary of Richard Cosway, John Smart, William Wood, and Richard Crosse.
Richard Crosse (1742–1810) was a leading English painter of portrait miniatures. He was a contemporary of John Smart , George Engleheart , Richard Cosway and William Wood . Family and home
His mother, Ann Bone, was a cousin of George Engleheart, 'miniature-painter to the king.' Thomas became Engleheart's pupil, and was employed by the royal family in copying miniatures by his master and Richard Cosway. He also copied in miniature size many of the portraits by Sir Joshua Reynolds in the royal collection. His original and unsigned ...
Modern miniature painting respects many of the principles originally set by Hilliard. [14] When the Society was founded, the maximum size for a miniature was 12 by 10 inches. Today, the permitted size varies depending on shape and medium, but paintings (including frame and mount) should have a diameter of no more than 4.5 inches.
Eye miniatures or Lovers' eyes were Georgian miniatures, normally watercolour on ivory, depicting the eye or eyes of a spouse, loved one or child. These were usually commissioned for sentimental reasons and were often worn as bracelets, brooches, pendants or rings with richly decorated frames, serving the same emotional need as lockets hiding portraits or locks of hair.
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