Обновено Октомври 2026 · класирано според нашия индекс на популярност (търсения, посещения и поръчки за всяко произведение) · 1 творби на George Roth в нашия каталог
Бърз отговор
Най-известната картина на George Roth е The Death of General James Wolfe (1727-1759) (after Benjamin West PRA) (1784); оригиналът се намира в Quebec House, Westerham. От 1 произведения на George Roth в нашия каталог, тези са 1-те най-известни, подредени по ранг, всяко с неговата година и музей, за да можете да изберете картината за поръчка.
Музеят, който притежава най-голям брой от картините на тази страница.
| Музеи | Град | Творения на George Roth | Картини от този списък |
|---|---|---|---|
 Quebec House |
Westerham | 1 | The Death of General James Wolfe (1727-1759) (after Benjamin West PRA) |
Всички картини на George Roth от 1784 на тази страница са подредени по ранг.
Изберете година, за да разгледате нейните картини.
The Death of General James Wolfe (1727-1759) (after Benjamin West PRA) (1784) е на първо място.
George Roth е бил на 45 години: The Death of General James Wolfe (1727-1759) (after Benjamin West PRA) е датирана 1784, а George Roth е роден в 1739.
В нашия каталог има 1 произведения на George Roth.
Предимно в Quebec House (Westerham). Вижте таблицата с музеи по-горе за пълния списък.
Да. Всяка картина на тази страница може да бъде поръчана като ръчно рисувана маслена репродукция или като принт. Отворете картината, изберете размер и направете поръчката си.
George Roth was a man defined by his connections to the professional art circles of the eighteenth century. Born around 1739, he was the son of George Roth, an artist who worked under the direction of Allan Ramsay, specifically focusing on the rendering of drapery. This familial link provided a technical foundation that Roth carried into his own career. He did not merely exist in the shadow of his father; he established his own presence through a series of portraits and exhibitions that spanned the major hubs of British art life.
His professional footprint was not confined to a single city. He moved between the bustling atmosphere of London and the more refined setting of Bath. This mobility allowed him to access diverse markets and social circles. By the time he was exhibiting at the Society of Arts between 1771 and 1776, he had already carved out a niche as a reliable hand in the portraiture market. His work was a product of a specific era of British painting, where the ability to capture a sitter's likeness was the primary currency of the trade.
The surviving evidence of Roth's output reveals a painter focused on the social realities of his time. His work was not about abstract concepts but about the people who formed the backbone of provincial and urban society. His commissions often centered on specific families, leaving behind a tangible record of their existence through oil and pigment.
His connection to East Anglia is particularly evident in his subject matter. The presence of sitters from Ipswich and the involvement of related artists in Norwich and Great Yarmouth suggest a family network deeply embedded in the regional art scene. This was a professional dynasty, one where names like Roth were synonymous with the production of portraiture across several English counties.
Roth's career concluded in the same urban environment that had facilitated his rise. He died in 1821, leaving behind a legacy tied to the practicalities of the portraitist's craft. He was buried at St Anne, Westminster, at the age of 82. His life reflects the steady, industrious nature of the eighteenth-century painter, a man whose value was measured by the accuracy of his likenesses and his ability to navigate the competitive art markets of London and Bath.
