Description

This magnificent catalogue, in three volumes and with nearly 2,000 illustrations, will restore George Romney (1734–1802) to his long-overdue position – with his contemporaries Reynolds and Gainsborough – as a master of 18th-century British portrait painting. The product of impressive and thorough research undertaken over the course of 20 years, Alex Kidson asserts Romney’s status as one of the greatest British painters, whose last catalogue raisonné was published over 100 years ago. In more than 1,800 entries, many supported by new photography, Kidson aims to solve longstanding issues of attribution, distinguishing genuine pictures by Romney from works whose traditional attribution to him can no longer be supported. The author’s insights are guided by rich primary source material on Romney—including account books, ledgers, and sketchbooks—as well as secondary sources such as prints after lost works, newspaper reports and reviews, and writings by Romney’s contemporaries.

Published for the Paul Mellon Centre for Studies in British Art

George Romney: A Complete Catalogue of His Paintings

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£180.00

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Hardback by Alex Kidson

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Short Description:

This magnificent catalogue, in three volumes and with nearly 2,000 illustrations, will restore George Romney (1734–1802) to his long-overdue position... Read more

    Publisher: Yale University Press
    Publication Date: 30/07/2015
    ISBN13: 9780300209693, 978-0300209693
    ISBN10: 030020969X

    Number of Pages: 960

    Non Fiction , Art & Photography

    Description

    This magnificent catalogue, in three volumes and with nearly 2,000 illustrations, will restore George Romney (1734–1802) to his long-overdue position – with his contemporaries Reynolds and Gainsborough – as a master of 18th-century British portrait painting. The product of impressive and thorough research undertaken over the course of 20 years, Alex Kidson asserts Romney’s status as one of the greatest British painters, whose last catalogue raisonné was published over 100 years ago. In more than 1,800 entries, many supported by new photography, Kidson aims to solve longstanding issues of attribution, distinguishing genuine pictures by Romney from works whose traditional attribution to him can no longer be supported. The author’s insights are guided by rich primary source material on Romney—including account books, ledgers, and sketchbooks—as well as secondary sources such as prints after lost works, newspaper reports and reviews, and writings by Romney’s contemporaries.

    Published for the Paul Mellon Centre for Studies in British Art

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