Portrait miniature

[[George Engleheart]] (1750–1829) painted 4,900 miniatures; it is often signed E or G.E. [[Andrew Plimer]] (1763–1837) was a pupil of Cosway, and both he and his brother [[Nathaniel Plimer]] produced some lovely portraits. The brightness of the eyes, wiriness of the hair, exuberance of colour, combined with forced chiaroscuro and often very inaccurate drawing, are characteristics of Andrew Plimer's work. [[John Smart]] ({{Circa|1740}} – 1811) was in some respects the greatest of the 18th-century miniaturists. His work was hailed by contemporaries for his excellence in refinement, power and delicacy; its silky texture and elaborate finish, and the artists love for a brown background.{{Cite book|title=Smart, John|date=2011-10-31|publisher=Oxford University Press|series=Benezit Dictionary of Artists|doi=10.1093/benz/9780199773787.article.b00170809}} Other notable painters were [[Richard Crosse (painter)|Richard Crosse]] (1742–1810), [[Ozias Humphry]] (1742–1810), [[Samuel Shelley]] (c1750–1808), whose best pictures are groups of two or more persons, [[Henry Edridge]] (1769–1821), [[John Bogle (artist)|John Bogle]], and [[Edward Dayes]].

[[George Engleheart]] (1750–1829) painted 4,900 miniatures; it is often signed E or G.E. [[Andrew Plimer]] (1763–1837) was a pupil of Cosway, and both he and his brother [[Nathaniel Plimer]] produced some lovely portraits. The brightness of the eyes, wiriness of the hair, exuberance of colour, combined with forced chiaroscuro and often very inaccurate drawing, are characteristics of Andrew Plimer's work. [[John Smart]] ({{Circa|1740}} – 1811) was in some respects the greatest of the 18th-century miniaturists. His work was hailed by contemporaries for his excellence in refinement, power and delicacy; its silky texture and elaborate finish, and the artists love for a brown background.{{Cite book|title=Smart, John|date=2011-10-31|publisher=Oxford University Press|series=Benezit Dictionary of Artists|doi=10.1093/benz/9780199773787.article.b00170809}} Other notable painters were [[Richard Crosse (painter)|Richard Crosse]] (1742–1810), [[Ozias Humphry]] (1742–1810), [[Samuel Shelley]] (c1750–1808), whose best pictures are groups of two or more persons, [[Henry Edridge]] (1769–1821), [[John Bogle (artist)|John Bogle]], and [[Edward Dayes]].

The period also produced an exceptional painter in enamel on copper, [[Henry Bone]] R.A. (1755-1864). Bone expanded the size of miniatures that could be produced, working on historical and contemporary portraits, religious and mythical scenes, and old masters.{{Cite book |last=Panes |first=Nicholas |title=Henry Bone R.A. (1755-1834) - The Kings' Enameller |date=February 2025 |publisher=Nicholas Panes |isbn=9780956226723 |location=London |publication-date=February 2025 |language=English}} He became the only enamel painter to achieve Royal Academy membership and was appointed as enameller to Kings George III, George IV, and William IV.

The period also produced an exceptional painter in enamel on copper, [[Henry Bone]] R.A. (1755-1864). Bone expanded the size of miniatures that could be produced, working on historical and contemporary portraits, religious and mythical scenes, and old masters.{{Cite book |last=Panes |first=Nicholas |title=Henry Bone R.A. (1755-1834) - The Kings' Enameller |date=February 2025 |publisher=Nicholas Panes |isbn=9780956226723 |location=London |publication-date=February 2025 |language=English}} He became the only enamel painter to achieve Royal Academy membership and was appointed as enameller to Kings [[George III]], [[George IV]], and [[William IV]].