Who painted portrait of a male sitter?

portrait of a male sitter was painted by George Richmond in 1850.

Where can I see portrait of a male sitter?

portrait of a male sitter is held by Victoria and Albert Museum.

Artwork

portrait of a male sitter

portrait of a male sitter is a print by George Richmond. It dates from 1850 and is held in the collection of the Victoria and Albert Museum. This mezzotint portrait belongs to the English Landscape series that John Constable oversaw near the end of his life.

About this work

Overview

This mezzotint portrait belongs to the English Landscape series that John Constable oversaw near the end of his life. The series, issued between 1830 and 1832, comprised twenty‑two plates produced by the engraver David Lucas and later reissued in a second edition in 1833.

Subject & Meaning

The image depicts a formally dressed male sitter with a solemn expression, rendered in the tonal richness characteristic of mezzotint. Though the series primarily presented landscapes, the inclusion of a portrait reflects Constable’s broader aim to celebrate English scenery and its inhabitants.

Technique & Style

Executed in mezzotint, the print relies on subtle gradations of light and dark to model form, a method that echoes the chiaroscuro principles championed by Constable. Lucas’s handling of the plate captures the atmospheric depth that the painter sought in his own works.

History & Provenance

Constable commissioned the project to reproduce selected oil sketches, finished paintings, and a few watercolours. After his death in 1837, the plates continued to be printed, and Lucas added new engravings, extending the series beyond Constable’s original scope.

Context

The series was conceived as a visual argument for the value of English landscape, drawing on precedents set by Claude Lorrain and J.M.W. Turner. By presenting both vistas and a portrait, Constable linked the natural environment with the people who inhabited it.

Legacy

The English Landscape mezzotints remain a key reference for 19th‑century printmaking, illustrating how an artist could use reproductive techniques to disseminate his aesthetic ideals and influence public appreciation of Britain’s countryside.