ArtvestigeArtvestige
PaintingsArtistsEras
Artvestige

Artvestige

The most comprehensive free reference for European painting. 40,000+ works across ten eras, every one with expert analysis.

Explore

PaintingsArtistsErasData Sources & CreditsContactPrivacy Policy

About

Artvestige is an independent reference and is not affiliated with any museum. All images courtesy of Wikimedia Commons.

© 2026 Artvestige. All painting images are public domain / open access.

George Harry Grey, 5th Earl of Stamford (1737-1819) by Anton Raphael Mengs

George Harry Grey, 5th Earl of Stamford (1737-1819)

Anton Raphael Mengs·1760

Historical Context

George Harry Grey, 5th Earl of Stamford (1737–1819), was an English peer who, like many of his generation and class, made a Grand Tour of Italy as part of his cultural formation. Mengs's portrait of 1760, held by the National Trust, represents one of many commissions the painter received from British visitors to Rome during the years when his celebrity was at its height. Stamford was a significant Whig landowner whose later career in English politics was less distinguished than his Grand Tour cultivation might have suggested. The National Trust's preservation of this portrait maintains it within the aristocratic country house context for which it was originally made — a rare case of a Grand Tour commission surviving in institutional care connected to the commissioning family's tradition.

Technical Analysis

The 1760 date places this portrait in the period of Mengs's greatest Roman fame, when his technical resources were fully developed and his clientele was at its most socially distinguished. The portrait exemplifies his standard format for British grand tourists: careful individual likeness, smooth surfaces, restrained palette, unobtrusive background.

Look Closer

  • ◆Stamford's fashionable dress of the early 1760s is a reliable dating marker, differing from the clothes English sitters wore only five years earlier or later.
  • ◆The Earl's expression — composed but neither commanding nor intellectual — is typical of Mengs's Grand Tour portraits, which aimed at gentlemanly dignity rather than psychological penetration.
  • ◆Background elements, if any, would be minimal — Mengs rarely incorporated Roman topographical settings into his British sitters' portraits despite the obvious thematic opportunity.
  • ◆The overall finish and format recall Reynolds's formal portraiture — Mengs and Reynolds were near-contemporaries — allowing interesting comparisons between their respective approaches to the same social type.

See It In Person

National Trust

,

Visit museum website →

Quick Facts

Medium
canvas
Era
Neoclassicism
Genre
Genre
Location
National Trust, undefined
View on museum website →

More by Anton Raphael Mengs

Portrait of the Artist's Father, Ismael Mengs by Anton Raphael Mengs

Portrait of the Artist's Father, Ismael Mengs

Anton Raphael Mengs·1747–48

Portrait of Cardinal Zelada by Anton Raphael Mengs

Portrait of Cardinal Zelada

Anton Raphael Mengs·1773

The Vision of Saint Anthony of Padua by Anton Raphael Mengs

The Vision of Saint Anthony of Padua

Anton Raphael Mengs·1758

Portrait of Infante Don Luis de Borbon by Anton Raphael Mengs

Portrait of Infante Don Luis de Borbon

Anton Raphael Mengs·c. 1776

More from the Neoclassicism Period

View on the River Roseau, Dominica by Agostino Brunias

View on the River Roseau, Dominica

Agostino Brunias·1770–80

Manuel Godoy by Agustin Esteve y Marqués

Manuel Godoy

Agustin Esteve y Marqués·1800–8

Portrait of a Musician by Alessandro Longhi

Portrait of a Musician

Alessandro Longhi·c. 1770

Mrs. Hugh Morgan and Her Daughter by Angelica Kauffmann

Mrs. Hugh Morgan and Her Daughter

Angelica Kauffmann·c. 1771