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http://utw10658.utweb.utexas.edu/files/original/0f2313cd9bc01cc1996f48114f827cf2.tif
f0d05d96262cd9fe79619dea8f42d481
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Local URL
The URL of the local directory containing all assets of the website
http://utw10658.utweb.utexas.edu/plugins/Dropbox/files/object_images/ART New/1991.108.zif
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Type
The nature or genre of the resource
painting
Has Version
A related resource that is a version, edition, or adaptation of the described resource.
http://utw10658.utweb.utexas.edu/plugins/Dropbox/files/object_images/ART New/1991.108.zif
Requires
A related resource that is required by the described resource to support its function, delivery, or coherence.
14588
Identifier
An unambiguous reference to the resource within a given context
1991.108
Creator
An entity primarily responsible for making the resource
George Romney
Date
A point or period of time associated with an event in the lifecycle of the resource
Lancashire, United Kingdom, 1734 - 1802, Kendal, United Kingdom
Date Created
Date of creation of the resource.
1791
Rights Holder
A person or organization owning or managing rights over the resource.
Bequest of Jack G. Taylor, 1991
Spatial Coverage
Spatial characteristics of the resource.
159.1 cm x 133.1 cm (62 5/8 in. x 52 3/8 in.)
Medium
The material or physical carrier of the resource.
Oil on canvas
Title
A name given to the resource
Lady Hamilton
Description
An account of the resource
The daughter of a blacksmith, Emma Hart sat for this portrait on September 6, 1791, the day of her wedding to Sir William Hamilton, George III’s envoy to Naples. She was twenty-six, and Sir William was sixty years old. Behind Emma in her white dress is an erupting Mount Vesuvius that references her husband’s publication on the volcano.
The painting also marks the end of Emma’s ten-year association with George Romney, one of the leading portrait painters of the day. Emma had captivated him with her beauty from the time she had first visited his London studio as a model in 1781. During her rise in society as a gentleman’s mistress, Romney had painted as many as fifty-seven portraits of Emma in various guises and attitudes. This portrait was to be his last depiction of her.
1991.108