Ekim 2026 tarihinde güncellendi · popülerlik puanımıza göre sıralanmıştır (her bir eser için aramalar, ziyaretler ve siparişler) · 1 eser George Roth kataloğumuzda
Hızlı yanıt
George Roth tarafından yapılan en ünlü tablo The Death of General James Wolfe (1727-1759) (after Benjamin West PRA) (1784) eseridir; orijinali Westerham, Quebec House bünyesinde bulunmaktadır. Katalogumuzdaki George Roth imzalı 1 eser arasından, en ünlü 1 eser; her biri yılı ve müzesiyle birlikte sıralanmış olarak, sipariş vereceğiniz tabloyu seçebilmeniz için aşağıda sunulmuştur.
Bu sayfadaki tabloların en büyük kısmına ev sahipliği yapan müze.
| Müze | Şehir | George Roth Eserleri | Bu listedeki tablolar |
|---|---|---|---|
 Quebec House |
Westerham | 1 | The Death of General James Wolfe (1727-1759) (after Benjamin West PRA) |
Bu sayfadaki tüm tarihli George Roth tabloları 1784 yılına aittir ve burada sıralamaya göre listelenmiştir.
Tablolarını görmek için bir yıl seçin.
The Death of General James Wolfe (1727-1759) (after Benjamin West PRA) (1784) birinci sırada.
George Roth 45 yaşındaydı: The Death of General James Wolfe (1727-1759) (after Benjamin West PRA) 1784 tarihli bir eserdir ve George Roth 1739 yılında doğmuştur.
George Roth tarafından yapılmış 1 eser kataloğumuzda yer almaktadır.
Ağırlıklı olarak Quebec House (Westerham) bünyesinde bulunmaktadır. Tam liste için yukarıdaki müze tablosuna bakınız.
Evet. Bu sayfadaki tüm tablolar, el yapımı yağlı boya reprodüksiyon veya baskı olarak sipariş edilebilir. Tabloyu açın, boyutu seçin ve siparişinizi verin.
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.
