Paper

Student Artwork Guide

Anthony Todd, Postmaster General

Name Class Date

George Romney, Anthony Todd, Postmaster General (1779), The British Postal Museum - Archive. Public domain. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
George Romney artsdot.com/en/artists/george-romney/
Artist’s dates
1734 – 1802
Painted
1779
Medium
Oil On Canvas
Original size
75 x 62 cm
Movement
Rococo Light, playful, pastel-coloured pictures of leisure, made for private rooms rather than public halls.
Period
Early Modern
Held at
The British Postal Museum - Archive artsdot.com/en/museums/the-british-postal-museum-archive-london/
Artistic style
Elegant; Formal
Influences
European Artistic Traditions
Notable elements or techniques
Detailed portraiture; Soft brushstrokes
Subject or theme
Portrait of a Gentleman

In context

Anthony Todd, Postmaster General — George Romney

How big is it?

The original measures 75 × 62 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1730
  2. 1740
  3. 1750
  4. 1760
  5. 1770
  6. 1780
  7. 1790
  8. 1800

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 68 at death.

Painted when the artist was 45. The artist lived to 68. 74 of the 261 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of George Romney (1734–1802) ▲ this work, 1779 every dated painting, decade by decade

First works: up to 1777 Main working years: 1777–1788 Late works: from 1788

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: artsdot.com/en/art/similar/george-romney-anthony-todd-postmaster-general-ARJG3E-en/

Colours

Measured from the image

    Main colour

    Rosy Brown #bfa69a

    Catalogued palette

    • #BFA69A
    • #19120F
    • #5D574E
    • #352E29

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Earthy The dominant colour family in the image.
    Main colour name
    Rosy Brown
    Intensity
    Monochromatic How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Gentle How much the colours differ in lightness and saturation across the picture.
    Harmony
    Discordant Palette How well the colours work together, from clashing to fully unified.
    Brightness
    Deep_shadow How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Muted How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by George Romney over the last twelve months — 21 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 70.2%34,200 visits
    2. 2 United States of America 11.3%5,500 visits
    3. 3 Singapore 6.0%2,900 visits
    4. 4 Hong Kong 4.9%2,400 visits
    5. 5 Romania 1.6%800 visits
    6. 6 Brazil 1.2%600 visits
    7. 7 United Kingdom 1.0%500 visits
    8. 8 France 0.6%300 visits
    9. 9 Germany 0.4%200 visits
    10. 10 Luxembourg 0.4%200 visits
    11. · 11 other countries 2.4%1,100 visits

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by George Romney

    1. 1 Jemima Yorke (1763–1804), Mrs Reginald Pole Carew, 1784 1.1%600 visits
    2. 2 The Death of General Wolfe at Quebec, 1759 (study), 1763 1.1%600 visits
    3. 3 Portrait of the Vernon children 1.1%600 visits
    4. 4 Henrietta, Countess of Warwick, and Her Children, 1787 0.9%500 visits
    5. 5 Lady Hamilton as a Vestal, 1800 0.9%500 visits
    6. 6 Mrs Siddons, 1784 0.9%500 visits
    7. 7 Lydia Henrietta Malortie (1754–1816), Mrs Henry Hoare, 1784 0.9%500 visits
    8. 8 Anna Maria Hunt (c.1771–1861), the Honourable Mrs Charles Agar Bagenal, 1793 0.9%500 visits
    9. 9 Mrs. Alexander Blair, 1789 0.9%500 visits
    10. 10 Sketch 62 0.9%500 visits
    11. 11 Mrs Crouch, 1787 0.7%400 visits
    12. 12 Portrait of Emma, Lady Hamilton as a Bacchante 0.7%400 visits
    13. 13 Hugh Holme, Deputy Recorder of Kendal 0.7%400 visits
    14. 14 Double portrait of mrs. russell and her eldest son 0.7%400 visits
    15. 15 Portrait of George Cowper 0.7%400 visits
    16. 16 Lady Hamilton in a Straw Hat 0.7%400 visits
    17. 17 Sir John Trevelyan (1761–1846), 5th Bt, 1788 0.6%300 visits
    18. 18 Lady Hamilton as Circe, 1782 0.6%300 visits
    19. 19 Miss Constable, 1787 0.6%300 visits
    20. — Anthony Todd, Postmaster General, 1779 this painting 0.0%0 visits

    Together these works take 15.6% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 1111 works by this artist, of which 346 were looked at at least once. This painting has not been looked at yet in that time — it closes the list without a rank. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    About this artwork

    Anthony Todd, Postmaster General — George Romney

    A Window Into Georgian Dignity

    In the quiet, commanding presence of George Romney’s 1779 masterpiece, Anthony Todd, Postmaster General, we find much more than a mere likeness of a historical figure; we encounter a profound window into the very soul of Georgian England. As one gazes upon this half-length portrait, the viewer is immediately struck by an atmosphere of cultivated composure and understated authority. Romney, a master of capturing the psychological essence of his subjects, directs Todd’s gaze slightly to the right, creating a sense of dignified contemplation that invites the observer into a silent dialogue with the past. The painting does not shout for attention through garish colors; instead, it commands respect through a meticulous arrangement of form and a subtle, sophisticated grace that reflects the aristocratic ideals of the late 18th century.

    The artistry behind this work lies in Romney’s exquisite command of the Rococo style, adapted here to suit the gravity of a high-ranking official. While the Rococo period is often celebrated for its whimsical ornamentation and pastel lightness, Romney utilizes these elements to imbue Todd with a sense of refined elegance. Through the delicate use of oil on canvas, the artist achieves a luminous finish that breathes life into the textures of the era. One can almost feel the weight and intricate weave of the subject's suit, rendered with such precision that the subtle folds of the fabric seem to catch the light in real-time. The technique allows for nuanced tonal gradations, where the soft shadows sculpting Todd’s face meet the crisp, bright highlights of his white shirt, creating a three-dimensional presence that remains strikingly modern in its clarity.

    The Language of Status and Substance

    Beyond the technical brilliance, the painting serves as a vital historical document of an era defined by rigid social hierarchies and burgeoning economic power. During this period of Georgian Britain, portraiture was the ultimate tool for asserting one's place within the societal landscape. In Anthony Todd, every element is a deliberate choice intended to convey duty, intellect, and moral character. The palette—a sophisticated arrangement of muted creams, deep browns, and somber grays—eschews the fleeting trends of fashion in favor of a timelessness that suggests stability and permanence. This restrained color scheme underscores the importance of substance over spectacle, mirroring the values of a class that viewed itself as the bedrock of British institutional progress.

    For the discerning collector or interior designer, this portrait offers an unparalleled opportunity to introduce a sense of historical weight and intellectual depth into a contemporary space. The emotional impact of the piece is one of serene strength; it possesses the rare ability to anchor a room, providing a focal point that inspires reflection rather than distraction. Whether placed in a stately library, a formal dining hall, or a modern study, a high-quality reproduction of this work brings with it the prestige of the 1770s. It is an invitation to surround oneself with the beauty of classical portraiture—a piece that does not merely decorate a wall but enriches the very atmosphere of a home with the enduring spirit of Georgian dignity.

    Artist and museum

    Artist

    George Romney

    Born in Dalton-in-Furness, United Kingdom

    A Life in Portraiture: The World of George Romney

    Born in the picturesque landscape of Dalton-in-Furness, Lancashire, on December 15th, 1734, George Romney ascended to become one of the most sought-after portrait painters of his era. His journey from a cabinet maker’s son to the favored artist of British high society is a compelling narrative of innate talent and unwavering ambition. Early life offered little indication of the artistic path he would forge; initially apprenticed to his father, it was an inherent inclination towards drawing and craftsmanship that led him to Christopher Steele, a local portraitist who had studied in Paris. This apprenticeship proved pivotal, providing Romney with foundational skills and an introduction to European artistic traditions. He quickly surpassed his master, however, demonstrating a precocious talent demanding further cultivation. A brief, unhappy marriage and subsequent separation propelled him towards London in 1762, a city brimming with opportunity but also fierce competition.

    Establishing a Reputation: Style and Technique

    London proved to be a crucible for Romney’s artistic development. He swiftly established himself as a formidable portraitist, challenging the dominance of artists like Thomas Gainsborough and Sir Joshua Reynolds. While he never sought membership in the Royal Academy – a decision that perhaps limited his access to certain patronage – his success was undeniable. Romney's style evolved over time, initially reflecting the influence of Steele and his Parisian training, but soon blossomed into something distinctly his own. He possessed an exceptional ability to capture not merely the likeness, but also the personality and social standing of his sitters. His portraits are characterized by elegant poses, a refined use of light and shadow, and a subtle psychological insight that set him apart. Romney’s technique was marked by a delicate touch and a preference for flowing lines, often drawing inspiration from classical sculpture. He skillfully employed color to convey texture and depth, creating portraits that were both visually striking and emotionally resonant. His ability to flatter his subjects while maintaining artistic integrity earned him the loyalty of an elite clientele. He understood the power of suggestion, hinting at character rather than explicitly defining it, a quality that appealed to those who valued discretion and refinement.

    The Muse and Her Influence: Emma Hamilton

    Romney’s life took a dramatic turn with his encounter with Emma Hart, later known as Lady Hamilton, in 1782. She became not only his most celebrated model but also his muse, profoundly influencing his artistic output. Emma's beauty, intelligence, and theatrical flair captivated Romney, inspiring a series of portraits that explored themes of classical mythology, dramatic narrative, and feminine grace. He depicted her in various roles – as a spinner, as the tragic Miranda from Shakespeare’s The Tempest, and in numerous allegorical scenes that showcased her expressive range. These works demonstrate Romney's willingness to experiment with composition and symbolism, moving beyond conventional portraiture into more imaginative territory. The Tempest series, in particular, reveals a Romantic sensibility at play, anticipating the emotional intensity of later artists. The relationship was intense and all-consuming for Romney, though ultimately unfulfilled romantically; Emma eventually became the mistress of Lord Nelson, a union that cemented her place in history. Nevertheless, their artistic collaboration left an indelible mark on both their lives and produced some of Romney’s most enduring masterpieces. It is said he painted over 80 portraits of her, each revealing a different facet of her captivating personality.

    Legacy and Historical Significance

    George Romney's impact on British portraiture is undeniable. He helped shape the aesthetic sensibilities of the late 18th century, contributing to a style that emphasized elegance, psychological depth, and artistic flair. His portraits offer invaluable insights into the lives and tastes of the British elite during his time, providing a visual record of their social customs, fashion, and intellectual pursuits. While he faced periods of self-doubt and struggled with mental health issues in later life – leading to a decline in productivity before his death in Kendal in 1802 – his legacy endures through the hundreds of paintings and drawings that remain as testaments to his skill. His work continues to be admired for its technical brilliance and emotional resonance. Romney’s influence can be seen in the portraits of subsequent generations of British artists. The enduring fascination with his relationship with Emma Hamilton adds another layer of intrigue to his story. He remains a significant figure in the history of art, a master portraitist who captured the spirit of an age and left behind a body of work that continues to captivate and inspire. Romney’s portraits are not merely representations of individuals; they are windows into a vanished world.

    Museum

    The British Postal Museum - Archive

    On show in London, United Kingdom

    A Chronicle of Connection: The Soul of London’s Postal Heritage

    In the bustling heart of London, near the historic convergence of Farringdon and Russell Square, lies an institution that serves as a profound testament to the human impulse to connect. The British Postal Museum & Archive is far more than a mere repository for philatelic treasures; it is a living, breathing narrative of five centuries of communication. To step within its walls is to enter a space where the tangible threads of history—the ink on a telegram, the adhesive of a rare stamp, and the rhythmic pulse of the city’s hidden infrastructure—intertwine to tell a story of innovation and intimacy. The museum’s modern architecture, designed to harmonize with its storied surroundings, utilizes natural light and expansive layouts to create an atmosphere of quiet contemplation, inviting visitors to bridge the gap between the vanished eras of the past and our hyper-connected present.

    The collection itself is a breathtaking tapestry of cultural milestones, offering much more than the traditional delights sought by stamp collectors. While the museum provides a veritable paradise for philatelists, its true magic lies in the evocative artifacts that serve as miniature windows into different epochs. One might find themselves moved by the poignant weight of original telegrams sent on the fateful night the Titanic sank, or captivated by the intimate glimpse into musical history offered by Freddie Mercury’s childhood stamp album. These objects are not merely relics; they are echoes of lives lived, capturing political shifts, artistic trends, and the very essence of human emotion. For the art lover and the historian alike, the archive presents a curated journey through the evolution of global identity.

    Subterranean Wonders and Engineering Ingenuity

    Beyond the delicate beauty of its paper treasures, the museum offers an unparalleled sensory experience through its most distinctive feature: the Mail Rail. This subterranean railway, a relic of London’s industrial and logistical ingenuity, allows visitors to descend into the city's hidden veins. Traveling through these historic tunnels provides a visceral understanding of the monumental challenges faced by mail carriers throughout the ages, transforming the concept of history from a static display into a kinetic adventure. It is this unique blend of the subterranean and the spectacular that makes the museum an essential destination for those who appreciate the intersection of engineering and human narrative.

    <

    p>For the discerning collector or interior designer seeking inspiration, the archive serves as a masterclass in the aesthetics of communication. The museum’s commitment to both preservation and innovation—transitioning from the physical weight of Victorian records to the cutting edge of digital preservation—mirrors the very evolution of the art of the message. Whether exploring the intercepted first edition of James Joyce's

    Ulysses

    , a symbol of the struggle for artistic freedom, or delving into the intricate maps of ancient delivery routes, one finds a wealth of inspiration in the museum’s ability to transform the mundane act of sending mail into a grand, enduring epic of human connection.

    Where to read more

    Find this online

    QR code linking to the download page for Anthony Todd, Postmaster General

    artsdot.com/en/art/download/george-romney-anthony-todd-postmaster-general-ARJG3E-en/

    Cite this artwork

    MLA
    Romney, George. Anthony Todd, Postmaster General. 1779, The British Postal Museum - Archive. https://artsdot.com/en/art/george-romney-anthony-todd-postmaster-general-ARJG3E-en/
    APA
    Romney, George (1779). Anthony Todd, Postmaster General [Painting]. The British Postal Museum - Archive. https://artsdot.com/en/art/george-romney-anthony-todd-postmaster-general-ARJG3E-en/
    Chicago
    George Romney. Anthony Todd, Postmaster General. 1779. The British Postal Museum - Archive. https://artsdot.com/en/art/george-romney-anthony-todd-postmaster-general-ARJG3E-en/
    Harvard
    Romney, George (1779) Anthony Todd, Postmaster General. The British Postal Museum - Archive. Available at: https://artsdot.com/en/art/george-romney-anthony-todd-postmaster-general-ARJG3E-en/

    Look closely

    Anthony Todd, Postmaster General — George Romney

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: portrait, gentleman, formal dress. Do you agree? What would you add, or take away?
    4. Look back at Portrait of Mrs. Verelst (1773), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Rococo: Light, playful, pastel-coloured pictures of leisure, made for private rooms rather than public halls. Where can you see that in this work?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Art quiz

    Anthony Todd, Postmaster General — George Romney

    How well do you know this artwork?

    Tick one answer for each of the 5 questions below. Each has exactly one correct answer.

    1. 1. What artistic movement is George Romney’s ‘Anthony Todd, Postmaster General’ primarily associated with?

      • A Renaissance
      • B Impressionism
      • C Rococo
    2. 2. In what year was this painting created?

      • A 1600
      • B 1750
      • C 1820
    3. 3. What is the dominant color palette used in ‘Anthony Todd, Postmaster General’?

      • A Bright reds and yellows
      • B Cool blues and greens
      • C Pale pinks and golds
    4. 4. Where is this artwork currently housed?

      • A Louvre Museum, Paris
      • B British Postal Museum - Archive, London
      • C Metropolitan Museum of Art, New York
    5. 5. What stylistic element contributes to the portrait’s sense of grandeur and formality?

      • A Use of perspective
      • B Emphasis on naturalistic detail
      • C Dramatic chiaroscuro lighting

    My score: ____ out of 5

    Answer key — for the teacher

    This starts a fresh printed page, so it can simply be left out of the copies.

    1C · 2B · 3C · 4B · 5C

    Check any answer against the catalogue record for this painting

    Questions & Answers

    Is "Anthony Todd, Postmaster General" by George Romney a light or a dark artwork?

    "Anthony Todd, Postmaster General" by George Romney is recorded as deep_shadow, with a dark luminance.

    What was George Romney's age when "Anthony Todd, Postmaster General" was created?

    When "Anthony Todd, Postmaster General" was created in 1779, George Romney - born in 1734 - was 45 years old.

    What color harmony does "Anthony Todd, Postmaster General" by George Romney display?

    "Anthony Todd, Postmaster General" by George Romney displays a discordant palette color harmony.