Please note, this event is not organised by the Irish Georgian Society. Credit: National Gallery of Ireland, Purchased, 1992 (part Lane Fund)
George in about 1796, painted by Hugh Douglas Hamilton, mourning at his wife’s tomb, which bears the inscription “NON IMMEMOR” (not forgotten). National Gallery of Victoria, Melbourne, Felton Bequest, 1922 (right) Richard St. Gothic again provided the explanatory framework for Tates 2006 Gothic Nightmares: Fuseli, Blake and the Romantic Imagination, curated by Martin Myrone. George in 1776, painted by Thomas Gainsborough, just prior to leaving for war in America. Image: Special exhibition view of two portraits in Cost of Revolution at Museum of the American Revolution. Re-identifying this striking portrait opened up connections between the historical trauma of the Revolution and the fantastical culture of the Gothic, involving cheap shocks, weird plots, and amateur dramatics. George as the sitter for Thomas Gainsborough’s portrait, previously known to art historians only as An Officer of the 4th Regiment of Foot, on loan to the Museum of the American Revolution from the National Gallery of Victoria (Melbourne, Australia). Myrone will discuss how he identified St.
Martin Myrone, Senior Curator of British Art to 1800 at Tate Britain in London, UK, for a presentation exploring the extraordinary life and art of Richard St. FROM GAINSBOROUGH TO GOTHIC NIGHTMARES: Art History in Cost of Revolution
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