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Repose
Hand-painted oil reproduction from $181 28 × 35 cm
Same size as the original $216 42 × 51 cm Order at original size →
George Sharp's most famous painting is Repose (1867), in the National Gallery of Ireland, Dublin City. With Creeping like Snail unwillingly to School and A Cock and a Terrior, it completes the three works everyone recognises. Our catalogue lists 3 works by George Sharp; the 3 below are the ones the world looks at most, each with its year, the museum that holds it and why it matters.
Ranked by our popularity score, which combines the searches, visits and orders for each work. Updated November 2026. Every masterpiece on this page can be ordered as a museum-quality, hand-painted oil reproduction or a fine art print, at the size you choose.
The museum that holds the most of the paintings on this page.
| Museum | City | Works by George Sharp | Paintings from this list |
|---|---|---|---|
 National Gallery of Ireland |
Dublin City | 3 | Repose, Creeping like Snail unwillingly to School, A Cock and a Terrior |
All of George Sharp's dated works on this page come from 1867: here are the most famous of them.
Repose (1867), National Gallery of Ireland, Dublin City. Next come Creeping like Snail unwillingly to School and A Cock and a Terrior.
65 years old: Repose dates from 1867 and George Sharp was born in 1802.
Our catalogue lists 3 works by George Sharp.
Most of them are in National Gallery of Ireland (Dublin City). The table above lists the museums one by one.
Repose, Creeping like Snail unwillingly to School and A Cock and a Terrior are among the 3 works on this page held by the National Gallery of Ireland, Dublin City.
Yes. Every painting on this page can be ordered as a museum-quality, hand-painted oil reproduction or a fine art print, in the size you choose, from the painting's own page.
George Sharp remains a figure defined by the specificities of his era rather than the grandiosity of a movement. Born in Dublin, Ireland, his life spanned the first half of the nineteenth century, a period that demanded a certain technical precision in visual storytelling. He was a painter who understood the weight of a subject, whether it was a landscape or a figurative scene. His work does not rely on abstraction to make a point; instead, it relies on the directness of the image to communicate a specific moment or a particular mood.
His output reflects a commitment to the tangible. Looking at his surviving works, one sees a focus on the structural elements of his subjects. He did not seek to reinvent the visual language of his time but to master the one that existed. This pragmatism is what gives his work its lasting clarity. He was a craftsman of the canvas, focused on the immediate reality of the scene before him.
The breadth of Sharp's work suggests a versatile approach to composition. He moved between different modes of representation, often focusing on the interplay between human figures and their environments. His ability to handle various subjects allowed him to navigate the demands of the nineteenth-century art market without losing his specific sense of form.
His technique was grounded in the traditions of his training. There is a lack of unnecessary ornamentation in his approach. He used line and shade to define volume, ensuring that his subjects occupied a real, physical space. This groundedness is a sharp contrast to the more decorative tendencies found in other artists of the same period.
Sharp died in Dublin in 1877, leaving behind a body of work that serves as a record of mid-nineteenth-century visual sensibilities. He was not a disruptor. He was a practitioner who worked within the established frameworks of his time. His significance lies in this very adherence to the functional purpose of painting: to depict, to record, and to tell a story through clear, legible imagery.
To study Sharp is to study the mechanics of nineteenth-century painting. He provides a window into how artists of his background approached the world through a lens of observation and technical discipline. His work remains a concrete example of the era's commitment to representational accuracy.