Actualizat Octombrie 2026 · clasat în funcție de scorul nostru de popularitate (căutări, vizite și comenzi pentru fiecare operă) · 1 lucrări ale lui George Roth în catalogul nostru
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Cea mai celebră pictură a lui George Roth este The Death of General James Wolfe (1727-1759) (after Benjamin West PRA) (1784); originalul se află la Quebec House, Westerham. Dintre cele 1 opere ale lui George Roth din catalogul nostru, acestea sunt cele 1 cele mai faimoase, clasificate, fiecare cu anul și muzeul său, astfel încât puteți alege pictura pe care doriți să o comandați.
Muzeul care deține cele mai multe dintre picturile prezentate pe această pagină.
| Muzee | Oraș | Lucrări lui George Roth | Picturi din această listă |
|---|---|---|---|
 Quebec House |
Westerham | 1 | The Death of General James Wolfe (1727-1759) (after Benjamin West PRA) |
Toate picturile datate cu George Roth de pe această pagină sunt din 1784, listate aici în funcție de clasament.
Selectați o anul pentru a vedea picturile acestuia.
The Death of General James Wolfe (1727-1759) (after Benjamin West PRA) (1784) ocupă prima poziție.
George Roth avea 45 ani: The Death of General James Wolfe (1727-1759) (after Benjamin West PRA) este datată 1784, iar George Roth s-a născut în 1739.
În catalogul nostru se află 1 lucrări ale lui George Roth.
În principal în Quebec House (Westerham). Consultați tabelul muzeelor de mai sus pentru lista completă.
Da. Fiecare pictură de pe această pagină poate fi comandată ca reproducere pictată manual în ulei sau ca print. Deschide pictura, alege dimensiunea și plasează comanda.
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.
