Oil On Canvas, Real Flavor of Old Masters

All John Opie 's Paintings
The Painting Names Are Sorted From A to Z

ID Image  Painting (From A to Z)       Details 
Captain Joseph Lamb Popham, John Opie
 Captain Joseph Lamb Popham   oil on canvas 72 x 60 cm 1797 or later cjr
Die Familie des Bauern, John Opie
 Die Familie des Bauern   Date 1783-1785 Medium Oil on canvas Dimensions Deutsch: 154 x 183,5 cm
Lachlan Macquarie attributed to, John Opie
 Lachlan Macquarie attributed to   Paintings : 1 oil Paintings in gilt frame ; 74.3 x 61.6 cm. inside frame; 92 x 80 cm. framed Date ca.1805-1824 cyf
Lachlan Macquarie attributed to John Opie, John Opie
 Lachlan Macquarie attributed to John Opie   Lachlan Macquarie attributed to John Opie (1761-1807) cjr
Sarah Siddons, John Opie
 Sarah Siddons   mk173 ca.1785-90 Oil on canvas 38.1x29.2cm
The Murder of Rizzio, by John Opie, John Opie
 The Murder of Rizzio, by John Opie   The Murder of Rizzio, by John Opie

John Opie
English Painter, 1761-1807,English painter. He was born in a tin-mining district, where his father was a mine carpenter. He had a natural talent for drawing and was taken up by an itinerant doctor, John Wolcot (the poet Peter Pindar, 1738-1819), who was an amateur artist and had a number of well-connected friends. Wolcot taught Opie the rudiments of drawing and painting, providing engravings for him to copy and gaining him access to country-house collections. Opie's early portraits, such as Dolly Pentreath (1777; St Michael's Mount, Cornwall, Lord St Levan priv. col.), are the work of a competent provincial painter and owe much to his study of engravings after portraits by Rembrandt. His attempts at chiaroscuro and impasto in Rembrandt's manner gave his pictures a maturity that clearly startled contemporary audiences expecting to see works by an untutored artist. Thus in 1780, when a picture by him was exhibited in London at the Society of Artists with the description 'a Boy's Head, an Instance of Genius, not having ever seen a picture', Opie was hailed as 'the Cornish Wonder'. When he himself arrived in London, where he was promoted by Wolcot and his paintings were exhibited at the Royal Academy in 1781 and 1782, he was seen as a phenomenon, impressing even Joshua Reynolds, who is reputed to have remarked that Opie was 'like Caravaggio and Velasquez in one'.

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