
John Opie ·
Rococo Artist
John Opie
British·1761–1807
43 paintings in our database
The artist is represented in our collection by "Street Singer and Child" (1700s), a oil on canvas that reveals Opie's engagement with the Romantic movement's broader project of liberating art from academic convention and celebrating individual vision.
Biography
John Opie (1761–1807) was a British painter who worked in the British artistic tradition, which developed its own distinctive character through portraiture, landscape, and the influence of the Royal Academy during the Romantic period — an era that championed emotion over reason, celebrated the sublime power of nature, valued individual artistic vision above academic convention, and explored the full range of human experience from ecstatic beauty to existential darkness. Born in 1761, Opie developed his artistic practice over a career spanning 26 years, producing works that demonstrate accomplished command of the period's characteristic emphasis on atmospheric effects, emotional color, and the expressive possibilities of freely handled paint.
The artist is represented in our collection by "Street Singer and Child" (1700s), a oil on canvas that reveals Opie's engagement with the Romantic movement's broader project of liberating art from academic convention and celebrating individual vision. The oil on canvas reflects thorough training in the established methods of Romantic British painting.
The preservation of this work in major museum collections testifies to its enduring artistic value and John Opie's significance within the broader tradition of Romantic British painting.
John Opie died in 1807 at the age of 46, leaving behind a body of work that contributes meaningfully to our understanding of Romantic artistic culture and the rich visual traditions of British painting during this transformative period in European art history.
Artistic Style
John Opie's painting reflects the mature artistic conventions of Romantic British painting, demonstrating command of the period's characteristic emphasis on atmospheric effects, emotional color, and the expressive possibilities of freely handled paint. Working primarily in oil — the dominant medium of the period — the artist employed the material's extraordinary capacity for rich chromatic effects, subtle tonal transitions, and the luminous glazing techniques that Romantic painters had refined to extraordinary levels of sophistication.
The compositional approach visible in John Opie's surviving works demonstrates a sophisticated understanding of the pictorial conventions of the period — the arrangement of figures and forms within convincing pictorial space, the use of light and shadow to model three-dimensional form, and the employment of color for both descriptive accuracy and expressive meaning. The palette and handling are characteristic of accomplished Romantic British painting, reflecting both the available materials and the aesthetic preferences that guided artistic production during this period.
Historical Significance
John Opie's work contributes to our understanding of Romantic British painting and the extraordinarily rich artistic culture that sustained creative production across Europe during this transformative period. Artists of this caliber were essential to the broader artistic ecosystem — creating works that served devotional, decorative, commemorative, and intellectual purposes for patrons who valued both artistic quality and cultural meaning.
The survival of this work in a major museum collection testifies to its enduring artistic value. John Opie's contribution reminds us that the history of European painting encompasses the collective achievement of many talented painters whose work sustained and enriched the visual culture of their time — a culture that produced not only the celebrated masterworks of a few famous individuals but a vast, rich tapestry of artistic production that defined the visual experience of generations.
Timeline
Paintings (43)
Street Singer and Child
John Opie·1700s

Amelia Opie
John Opie·1798
_-_James_Alderson_(1742%E2%80%931825)%2C_Surgeon_(1772%E2%80%931793)%2C_Physician_(1793%E2%80%931821)_(the_artist's_father-in-law)_-_NWHHA_%2C_1995.6.1_-_Norfolk_and_Norwich_University_Hospital.jpg&width=600)
James Alderson (1742–1825), Surgeon (1772–1793), Physician (1793–1821) (the artist's father-in-law)
John Opie·1798
_-_Boy_with_a_Hoop_-_L.F54.1953.0.0_-_Leicester_Museum_%5E_Art_Gallery.jpg&width=600)
Boy with a Hoop
John Opie·
_-_Murder_of_Thomas_Becket_in_Canterbury_Cathedral_-_CANCM-10069_-_Canterbury_Museums_and_Galleries.jpg&width=600)
Murder of Thomas Becket in Canterbury Cathedral
John Opie·
_-_John_Bellet%2C_Junior_-_LO_1977-317_-_The_Box.jpg&width=600)
John Bellet, Junior
John Opie·
_-_Daniel_Pinder%2C_Deputy_-_83_-_Guildhall_Art_Gallery.jpg&width=600)
Daniel Pinder, Deputy
John Opie·
_-_Sir_Simon_Le_Blanc_(1748-1749%E2%80%931816)%2C_Fellow_(1779%E2%80%931799)_-_93_-_Trinity_Hall.jpg&width=600)
Sir Simon Le Blanc (1748/1749–1816), Fellow (1779–1799)
John Opie·
_-_Mary_Gay_(c.1780%E2%80%931853)_(the_future_Mrs_Girdlestone)_-_NWHCM_%2C_1935.134_%2C_F_-_Norfolk_Museums_Collections.jpg&width=600)
Mary Gay (c.1780–1853) (the future Mrs Girdlestone)
John Opie·1799
_-_Thomas_Girtin_-_WA1934.418_-_Ashmolean_Museum.jpg&width=600)
Thomas Girtin
John Opie·1800
_-_John_Vinicombe_(1761%E2%80%931808)_-_26_-_Pembroke_College.jpg&width=600)
John Vinicombe (1761–1808)
John Opie·1796
_-_Head_of_a_Girl_-_L.F9.1943.5.0_-_Leicester_Museum_%5E_Art_Gallery.jpg&width=600)
Head of a Girl
John Opie·
_-_Hon._Edward_Boscawen_(1787%E2%80%931841)_-_FDA-P.29-2010_-_Eton_College.jpg&width=600)
Hon. Edward Boscawen (1787–1841)
John Opie·1805
_-_John_Patch%2C_Junior_(1723%E2%80%931786)%2C_Surgeon_(1741%E2%80%931786)_-_PCF29_-_Royal_Devon_and_Exeter_Hospital.jpg&width=600)
John Patch, Junior (1723–1786), Surgeon (1741–1786)
John Opie·
_-_The_blind_Beggar_of_Bethnal_Green_and_his_Daughter_-_WA1899.CDEF.P9_-_Ashmolean_Museum.jpg&width=600)
The blind Beggar of Bethnal Green and his Daughter
John Opie·
_-_Master_Benjamin_Smith_(1783%E2%80%931860)%2C_and_His_Younger_Brother_-_3205_-_Glasgow_Museums_Resource_Centre.jpg&width=600)
Master Benjamin Smith (1783–1860), and His Younger Brother
John Opie·1796
_-_Lady_with_Two_Children_and_a_Parrot_-_PCF79_-_Maidstone_Museum_and_Bentlif_Art_Gallery.jpg&width=600)
Lady with Two Children and a Parrot
John Opie·
_-_Francis_Fowke_(1753%E2%80%931819)%2C_of_Boughrood_Castle_-_LLWLM2010-5_-_Radnorshire_Museum.jpg&width=600)
Francis Fowke (1753–1819), of Boughrood Castle
John Opie·
_-_Francis_Smith_-_WA1934.422_-_Ashmolean_Museum.jpg&width=600)
Francis Smith
John Opie·
_-_Shute_Barrington_(1734%E2%80%931826)_-_LP_291_-_Bodleian_Libraries.jpg&width=600)
Shute Barrington (1734–1826)
John Opie·1805
_-_Portrait_of_a_Boy_in_a_Top_Hat_with_Flies_-_P.40-1962_-_Victoria_and_Albert_Museum.jpg&width=600)
Portrait of a Boy in a Top Hat with Flies
John Opie·
_-_Anne_Hammersley_(1773%E2%80%931841)_-_1954-3182_-_Manx_Museum.jpg&width=600)
Anne Hammersley (1773–1841)
John Opie·1805
_-_The_Noverre_Children_-_NWHCM_%2C_1958.264_%2C_F_-_Norfolk_Museums_Collections.jpg&width=600)
The Noverre Children
John Opie·1805
_-_Welsh_Lady_-_1966.50_-_Tamworth_Castle.jpg&width=600)
Welsh Lady
John Opie·
_(style_of)_-_William%2C_First_Earl_of_Lonsdale%2C_Wearing_Robes_-_1973.4.19_-_The_Tullie.jpg&width=600)
William, First Earl of Lonsdale, Wearing Robes
John Opie·1820
%2C_Aged_31_John_Opie_(1761%E2%80%931807)_Keswick_Museum.jpg&width=600)
Portrait of Robert Southey
John Opie·
_-_The_Cornish_Girl_-_2004.544_-_Watford_Museum.jpg&width=600)
The Cornish Girl
John Opie·
_-_Mrs_Ann_Elliott_(d.c.1853%5E)_-_WAG_283_-_Sudley_House.jpg&width=600)
Mrs Ann Elliott (d.c.1853?)
John Opie·1800
_-_Samuel_Forster_(1752%E2%80%931843)%2C_DD_-_188_-_St_John's_College.jpg&width=600)
Samuel Forster (1752–1843), DD
John Opie·
_-_Crisp_Molineux_(1730%E2%80%931792)_-_NWHCM_%2C_1979.368.1_%2C_F_-_Norfolk_Museums_Collections.jpg&width=600)
Crisp Molineux (1730–1792)
John Opie·
Contemporaries
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