トーマス・ローレンスによる最も有名な絵画100選

Satan Summoning His Legions

In the vast, dramatic expanse of Sir Thomas Lawrence’s 1797 masterpiece, Satan Summoning His Legions, viewers are transported into the heart of a cosmic rebellion. This monumental oil on canvas, measuring an imposing 432 x 274 cm, serves as a breathtaking window into the depths of Miltonic epic. The painting captures the precise moment of transition described in John Milton’s Paradise Lost—the chilling command to "Awake, arise, or be for…

John Philip Kemble (1757–1823), as Coriolanus

To stand before this portrait of John Philip Kemble as Coriolanus is to step directly into the tempestuous heart of the late eighteenth century. Sir Thomas Lawrence has captured not merely a likeness, but an overwhelming emotional state—a moment suspended between public grandeur and private turmoil. The composition immediately draws the viewer into its dramatic embrace, dominated by the figure shrouded in shadow. It is a masterclass in Romantic sensibility,…

Lord Granville Leveson Gower, later 1st Earl Granville

In the sweeping annals of British portraiture, few eras capture the intoxicating blend of aristocratic poise and romantic idealism quite like the Regency period. Sir Thomas Lawrence’s portrait of Lord Granville Levan Gower, completed between 1804 and 1809, serves as a breathtaking window into this gilded age. As a quintessential emblem of high society, the painting transcends a mere physical likeness; it is a meticulously crafted tableau that speaks to…

William van Mildhert (1765–1836), Bishop of Durham (1826–1836)

John, Count Capo d'Istria (1776-1831)

In the sweeping landscape of early 19th-century portraiture, few works capture the intersection of political gravity and aristocratic grace as masterfully as Sir Thomas Lawrence’s 'John, Count Capo d'Istria (1776-18ABS)'. Painted in 1819, this exquisite oil on canvas serves as a profound window into an era defined by shifting borders and the rise of influential statesmen. The subject, John, Count Capo d'Istria, emerges from the frame not merely as a…

The 3rd Marquess of Hertford

To stand before this portrait of The 3rd Marquess of Hertford is to step directly into the polished drawing rooms and sophisticated salons of early nineteenth-century England. Painted in 1823, this work captures not merely a likeness, but an entire epoch—the height of Regency elegance and aristocratic confidence. Sir Thomas Lawrence, master chronicler of the British elite, has rendered the Marquess with a masterful blend of formality and undeniable vitality.…

LA COMTESSE D'INCHIQUIN

In this portrait, we encounter the Comtesse d'Inchiquin, captured in a moment of quiet composure. The sitter is presented in a three-quarter view, her presence defined by an air of dignity and refinement that speaks to her social standing. There is a certain stillness here; she sits facing us slightly, her hands resting upon the soft folds of a draped garment or perhaps the arm of a chair. The composition…

William Windham (1750–1810), MP, Lord Lieutenant of Ireland (1783), Secretary for War (1792–1801), Secretary for War and the Colonies (1806)

In the grand tapestry of British portraiture, few works capture the intersection of political gravity and artistic elegance as profoundly as Sir Thomas Lawrence’s 1803 masterpiece, William Windham. This portrait is far more than a mere recording of a statesman's features; it is a compelling visual narrative of power, intellect, and the pervasive influence of aristocratic patronage during the Napoleonic era. As the viewer encounters Windham, they are met with…

The Two Sons of the 1st Earl of Talbot

Portrait of the Children of John Angerstein