Opdateret oktober 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 1 værker af George Roth i vores katalog
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Det mest berømte maleri af George Roth er The Death of General James Wolfe (1727-1759) (after Benjamin West PRA) (1784); originalen findes på Quebec House, Westerham. Ud af de 1 værker af George Roth i vores katalog er dette de 1 mest berømte, rangeret med årstal og museum, så du kan vælge det maleri, du ønsker at bestille.
Det museum, der rummer flest af malerierne på denne side.
| Museum | By | Værker af George Roth | Malerier fra denne liste |
|---|---|---|---|
 Quebec House |
Westerham | 1 | The Death of General James Wolfe (1727-1759) (after Benjamin West PRA) |
Alle daterede George Roth malerier på denne side er fra 1784 og er her opført efter rang.
Vælg et årstal for at se dets malerier.
The Death of General James Wolfe (1727-1759) (after Benjamin West PRA) (1784) er nummer ét.
George Roth var 45 år gammel: The Death of General James Wolfe (1727-1759) (after Benjamin West PRA) er dateret 1784, og George Roth blev født i 1739.
1 værker af George Roth er i vores katalog.
Primært i Quebec House (Westerham). Se museomtabelen ovenfor for den fulde liste.
Ja. Hvert maleri på denne side kan bestilles som en håndmalet oliereproduktion eller som et print. Åbn maleriet, vælg størrelsen og afgiv din bestilling.
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.
