“Like Macbeth, Western man made an evil decision, which has become the efficient and final cause of other evil decisions. Have we forgotten our encounter with the witches on the heath? It occurred in the late fourteenth century, and what the witches said to the protagonist of this drama was that man could realize himself more fully if he would only abandon his belief in the existence of transcendentals. The powers of darkness were working subtly, as always, and they couched this proposition in the seemingly innocent form of an attack upon universals. The defeat of logical realism in the great medieval debate was the crucial event in the history of Western culture; from this flowed those acts which issue now in modern decadence.”
— Richard M. Weaver, Ideas Have Consequences

Mrs Jordan, as ‘Peggy’ in 'The Country Girl’ (1786-1787). George Romney (English, 1734-1802). Oil on canvas.

Mrs. Jordan shown in two of her well-known roles. She has the attitude of her portrayal of Priscilla Tomboy in The Romp, but wears her costume for Peggy in The Country Girl. At the sitting, whatever one proposed, the other rejected. At last, Mrs. Jordan, pretending to be tired, sprang up said, ‘well, I’m a-going.’ Romney instantly exclaimed ‘That will do!’ and in that attitude and uttering that expression, he painted her.


George Romney - Portrait of Lady Caroline Price [1774] by Gandalf
Via Flickr:
Along with Sir Joshua Reynolds, George Romney was one of the most prominent portraitists of the eighteenth century. His paintings such as the present work are characterised by fashionable costume, beautiful colour, and graceful brushwork. Sitting with a sense of poise befitting her stature, Lady Price modestly averts her gaze to her right. Her white ruffled bodice is quickly and expertly described with masterful brushstrokes. Light pours into the space, playing off of the rich texture of the lady’s plumed, blue ribbon hat.

[Heritage Auctions - Oil on canvas, 74.9 x 62.2 cm]

Portrait of Lady Gordon (1784). George Romney (English, 1734-1802). Oil on canvas.

Lady Gordon entertained on a lavish scale, with as many as 100 sitting down to dinner at the Castle. In the 1780s, the Duchess started entertaining in Edinburgh, quickly becoming the leading hostess. She regularly gave soirée evenings where up and coming artists were asked to entertain. It was in her drawing room that Robert Burns first read his poetry to Edinburgh society.


A portrait of Mary Moser by George Romney in 1770-1

plus a bonus: The Portraits of the Academicians of the Royal Academy, 1771-72, oil on canvas, The Royal Collection by Johan Zoffany

George Romney (26 December 1734 – 15 November 1802) was an English portrait painter. He was the most fashionable artist of his day, painting many leading society figures – including his artistic muse, Emma Hamilton, mistress of Lord Nelson.

Johan Joseph Zoffany, RA (born Johannes Josephus Zaufallij, 13 March 1733 – 11 November 1810) was a German neoclassical painter, active mainly in England. His works appear in many prominent British National galleries such as the National Gallery, London, the Tate Gallery and in the Royal Collection. His name is sometimes spelled Zoffani or Zauffelij.

Mary Moser RA (27 October 1744 – 2 May 1819) was an English painter and one of the most celebrated women artists of 18th-century Britain. One of only two female founding members of the Royal Academy in 1768, Moser painted portraits but is particularly noted for her depictions of flowers.

London-born Moser was trained by her Swiss-born artist and enameller father George Michael Moser (1706–1783) and her talents were evident at an early age: she won her first Society of Arts medal at 14, and regularly exhibited flower pieces, and occasional history paintings, at the Society of Artists of Great Britain. Ten years later, however, her thirst for professional recognition led her to join with 35 other artists (including her father) in forming the Royal Academy, and, with Angelica Kauffman, she took an active role in proceedings.In a group portrait by Johann Zoffany, The Academicians of the Royal Academy (1771–72; Royal Collection, London), members are shown gathered around a nude male model at a time when women were excluded from such training in order to protect their modesty. So that Moser and Kauffman could be included, Zoffany added them as portraits hanging on the wall.

George Romney (c. 1770) painted a portrait of Moser at work on a still life which was acquired by the National Portrait Gallery (London) in 2003.
In the 1790s, Moser received a prestigious commission, for which she was paid over £900, from Queen Charlotte to complete a floral decorative scheme for a room in Frogmore House in Windsor, Berkshire. This was to prove one of her last professional works; following marriage to a Captain Hugh Lloyd on 23 October 1793, she retired and began exhibiting as an amateur under her married name. She continued showing at the Royal Academy until 1802.
At this period Moser had an open affair with Richard Cosway, who was then separated from his wife Maria. She travelled with him for six months on a sketching tour in 1793. In his notebooks he made “lascivious statements” and “invidious comparisons between her and Mrs Cosway”, implying that she was much more sexually responsive than his wife. She died in Upper Thornhaugh Street, London, on 2 May 1819, and was buried, alongside her husband at Kensington Cemetery.
After Moser’s death in 1819, no further women were elected as full members of the Academy until Dame Laura Knight in 1936.