Artworks · Benjamin West

Self-Portrait

1819 · oil on paperboard

32 3/8 x 25 5/8 in. (82.2 x 65.0 cm.)

Smithsonian American Art Museum

Telemachus and Calypso

1809 · oil on canvas

overall: 104.1 × 149.2 cm (41 × 58 3/4 in.) framed: 125.73 × 149.23 cm (49 1/2 × 58 3/4 in.)

National Gallery of Art

Omnia Vincit Amor, or The Power of Love in the Three Elements

1809 · Oil on canvas

70 3/8 x 80 1/2 in. (178.8 x 204.5 cm)

The Metropolitan Museum of Art

The Angel at the Tomb of Christ

1809 · Pen and iron-gall ink on white laid paper

4 1/2 x 3 3/4 in. (11.4 x 9.5 cm)

The Metropolitan Museum of Art

Omnia Vincit Amor, or The Power of Love in the Three Elements

1809 · Oil on canvas

70 3/8 x 80 1/2 in. (178.8 x 204.5 cm)

The Metropolitan Museum of Art

The Adoration of the Shepherds

1805 · pen and brown ink with brown wash and blue gouache heightened with white on wove paper mounted to board

image: 22.9 × 32.9 cm (9 × 12 15/16 in.) sheet: 34.7 × 44.7 cm (13 11/16 × 17 5/8 in.)

National Gallery of Art

Angel of the Resurrection, from the first issue of Specimens of Polyautography

1803 · Lithograph in black on cream wove paper, tipped onto mount with aquatint border in brown on cream wove paper

Image/primary support: 32.2 × 23 cm (12 11/16 × 9 1/16 in.); Secondary support: 49 × 37.5 cm (19 5/16 × 14 13/16 in.)

Art Institute of Chicago

This is my Beloved Son

1802 · lithograph

plate: 31.43 × 22.23 cm (12 3/8 × 8 3/4 in.) sheet: 32.7 × 23.81 cm (12 7/8 × 9 3/8 in.)

National Gallery of Art

Angel of the Resurrection

1801 · pen-and-tusche lithograph

sheet: 32.39 × 22.86 cm (12 3/4 × 9 in.)

National Gallery of Art

Moses Shown the Promised Land

1801 · Oil on wood

19 3/4 x 28 3/4 in. (50.2 x 73 cm)

The Metropolitan Museum of Art

Moses Shown the Promised Land

1801 · Oil on wood

19 3/4 x 28 3/4 in. (50.2 x 73 cm)

The Metropolitan Museum of Art

Specimens of Polyautography: The Angel at the Tomb of Christ

1801 · lithograph

Cleveland Museum of Art

The Flight into Egypt

1800 · pen and brown ink and wash, heightened with white gouache, on laid paper

image: 22.23 × 16.83 cm (8 3/4 × 6 5/8 in.) sheet: 22.86 × 16.83 cm (9 × 6 5/8 in.)

National Gallery of Art

Maria Hamilton Beckford (Mrs. William Beckford)

1799 · oil on canvas

overall: 146 x 115 cm (57 1/2 x 45 1/4 in.) framed: 177.8 x 146.7 x 10.2 cm (70 x 57 3/4 x 4 in.)

National Gallery of Art

Figures in Landscape

1798 · Iron gall ink over graphite, on ivory laid paper tipped onto cream wove paper

25.6 × 20.5 cm (10 1/8 × 8 1/8 in.)

Art Institute of Chicago

Elizabeth, Countess of Effingham

1797 · oil on canvas

overall: 146.3 x 115.6 cm (57 5/8 x 45 1/2 in.) framed: 178.1 x 147 x 10.2 cm (70 1/8 x 57 7/8 x 4 in.)

National Gallery of Art

The Crucifixion

1796 · pen and brown and black ink with blue, black, and red chalk on laid paper

sheet (approximate): 29.2 x 24.4 cm (11 1/2 x 9 5/8 in.)

National Gallery of Art

The Disobedient Prophet

1793 · pen and black ink with wash heightened with blue and cream oil paint over chalk

overall: 30.2 x 49.8 cm (11 7/8 x 19 5/8 in.)

National Gallery of Art

View from the Terrace at Windsor

1792 · Oil paint on canvas

support: 283 x 371 mm frame: 380 x 470 x 54 mm

Tate

The Expulsion of Adam and Eve from Paradise

1791 · oil on canvas

overall: 186.8 x 278.1 cm (73 9/16 x 109 1/2 in.)

National Gallery of Art

The Expulsion of Adam and Eve from Paradise

1791 · Oil on canvas

48.6 × 72.9 cm (19 1/8 × 28 11/16 in.)

Art Institute of Chicago

British Manufactory; A Sketch

1791 · oil on paper mounted on wood

Framed: 67.4 x 80 x 5.2 cm (26 9/16 x 31 1/2 x 2 1/16 in.); Unframed: 51 x 65 cm (20 1/16 x 25 9/16 in.)

Cleveland Museum of Art

The Damsel and Orlando

1790 · Oil on canvas

36 x 28 in. (91.4 x 71.1 cm)

The Metropolitan Museum of Art

The Damsel and Orlando

1790 · Oil on canvas

36 x 28 in. (91.4 x 71.1 cm)

The Metropolitan Museum of Art

Portrait of a Man

1790 · Oil on canvas

127 × 102 cm (50 × 40 1/8 in.); Framed: 152.4 × 128.3 × 11.5 cm (60 × 50 1/2 × 4 1/2 in.)

Art Institute of Chicago

George III Resuming Royal Power in 1789

1789 · pen and brown ink with brown wash on laid paper mounted to board

sheet: 15.9 × 21.9 cm (6 1/4 × 8 5/8 in.) mount: 22.38 × 28.1 cm (8 13/16 × 11 1/16 in.)

National Gallery of Art

Vagabond Family [recto]

1788 · pen and brown ink with brown and blue wash on wove paper

sheet: 17.9 x 12.3 cm (7 1/16 x 4 13/16 in.)

National Gallery of Art

Cross Section of a Gothic Church [verso]

1788 · graphite and pen and brown ink

overall: 12.2 x 17.9 cm (4 13/16 x 7 1/16 in.)

National Gallery of Art

An Old Warrior in Armour, Half Length

1788 · Ink and watercolour on paper

support: 145 x 133 mm

Tate

Study for the Crucifixion

1788 · Brown ink applied by brush and pen, black chalk underdrawing; laid paper prepared with a light golden brown wash

18 1/2 x 12 in. (47.0 x 30.5 cm)

The Metropolitan Museum of Art

Sketch for ‘The Installation of the Order of the Garter’

1787 · Oil paint on canvas

support: 406 x 559 mm frame: 687 x 827 x 65 mm

Tate

Head of a Screaming Man (recto)

1787 · black crayon

Sheet: 32.3 x 40.7 cm (12 11/16 x 16 in.)

Cleveland Museum of Art

Head of a Screaming Man (recto); Woman and Man Playing Cards (verso)

1787 · black crayon

Sheet: 32.3 x 40.7 cm (12 11/16 x 16 in.)

Cleveland Museum of Art

Woman and Man Playing Cards (verso)

1787 · black crayon

Sheet: 32.3 x 40.7 cm (12 11/16 x 16 in.)

Cleveland Museum of Art

Sketch for ‘St Paul Shaking off the Viper’

1786 · Oil paint on canvas

support: 1295 x 724 mm frame: 1588 x 1030 x 108 mm

Tate

The Last Supper

1784 · Oil paint on canvas

support: 1830 x 2757 mm

Tate

Study for "Alexander III, King of Scotland, Saved from a Stag by Colin Fitzgerald"

1784 · Pen and brown ink, brown ink washes, black chalk, and graphite on off-white (now oxidized) laid paper.

13 5/8 x 20 1/8 in. (34.6 x 51.1 cm)

The Metropolitan Museum of Art

Maternity

1784 · Red chalk on thin off-white laid paper, mounted on off-white laid paper

14 5/16 x 11 9/16 in. (36.4 x 29.4 cm)

The Metropolitan Museum of Art

Queen Philippa at the Battle of Neville's Cross

1784 · Oil on canvas

39.1 × 52.7 cm (15 3/8 × 20 3/4 in.)

Art Institute of Chicago

Study for "Alexander III, King of Scotland, Saved from a Stag by Colin Fitzgerald"

1784 · Pen and brown ink, brown ink washes, black chalk, and graphite on off-white (now oxidized) laid paper.

13 5/8 x 20 1/8 in. (34.6 x 51.1 cm)

The Metropolitan Museum of Art

George III

1783 · oil on canvas

Framed: 152 x 127 x 9.5 cm (59 13/16 x 50 x 3 3/4 in.); Unframed: 126.5 x 101 cm (49 13/16 x 39 3/4 in.)

Cleveland Museum of Art

Sketch for ‘The Ascension’

1782 · Oil paint on canvas

support: 1264 x 711 mm frame: 939 x 1495 x 73 mm

Tate

Jephthah's Daughter

1780 · pen and black ink, wash, and gouache on blue wove paper

sheet: 13.18 × 19.05 cm (5 3/16 × 7 1/2 in.)

National Gallery of Art

Study for "Jephthah's Daughter"

1780 · pen and black ink on blue wove paper

sheet: 13.18 × 19.05 cm (5 3/16 × 7 1/2 in.)

National Gallery of Art

The Raising of Lazarus

1780 · Pen and brown ink with brush and watercolor, heightened with white gouache, and squared in graphite, on cream laid paper, laid down on cream laid card

17.6 × 23.8 cm (6 15/16 × 9 3/8 in.)

Art Institute of Chicago

Study for The Battle of La Hogue [recto]

1778 · pen and brown ink on laid paper

sheet: 30.6 × 50.6 cm (12 1/16 × 19 15/16 in.) mount: 45.1 × 61.3 cm (17 3/4 × 24 1/8 in.)

National Gallery of Art

Study of Moses Striking the Rock and a Procession [verso]

1778 · black chalk on laid paper

sheet: 30.6 × 50.6 cm (12 1/16 × 19 15/16 in.) mount: 45.1 × 61.3 cm (17 3/4 × 24 1/8 in.)

National Gallery of Art

The Battle of La Hogue

1778 · oil on canvas

overall: 152.7 x 214 cm (60 1/8 x 84 1/4 in.) framed: 180.3 x 241 cm (71 x 94 7/8 in.)

National Gallery of Art