Vertumnus and Pomona [1] is a depiction of a tale known mainly from Ovid's Metamorphoses represents a shift in William Hamilton's focus. The young Pomona, a nymph, was coveted by the god of orchards, Vertumnus. However, Pomona kept herself locked in her garden in order to tend to her plants ignoring Vertunmus's attempts to woo her. After many failed attempts to enter her garden he eventually disguised himself as an old woman and gained admission. In his disguise, Vertumnus encouraged Pomona into accepting her suitor's advances. Hamilton portrays this conversation by creating an intimate setting for Pomona and the disguised Vertumnus. The young nymph has turned away from the viewer and through a careful play of light and shadow, the artist creates an intimate setting in which the two figures communicate through a series of gestures.

Born in Chelsea in 1751, Hamilton spent time studying in Italy before entering the Royal Academy Schools in 1769. Although he had previously studied architectural draughtsmanship he chose to pursue painting. He exhibited four paintings at the Royal Academy in 1774, and by 1789 was elected as an Academician. In the early part of his career Hamilton focused on portraiture. However, after submitting Vertumnus and Pomona as his Diploma work, the artist began to paint subjects from poetry, history and the Bible.

Despite his success as a painter he also pursued a career as a decorative artist and was also employed by print galleries to illustrate popular themes and literature. His representations of Shakespearean scenes were not well-received, yet his rural scenes were fashionable. Perhaps the best known and liked prints were illustrations of James Thomson's The Seasons (1730). This poem describes rural Britain and reflects on the role Nature plays as an intermediary between Heaven and Earth. Many thought the study of The Seasons was as beneficial as the study of Nature. Hamilton's illustrations, such as The Monarch Swain [2] were published in 1797. They were engraved by Francesco Bartolozzi, RA and Peltro William Tomkins and there is a copy of the book in the Royal Academy Library.

Another example from this series is the engraving of the tail-piece in P.W. Tomkins's 1797 edition of The Seasons which depicts The Reaper Returning Home [3]. A study for this print also exists [4] which allows for a unique comparison between the early concepts and the completed work. In the study, the reaper is set further forward in the foreground and dominates more of the composition. However, in the print, the reaper has become a smaller figure and greater emphasis has been given to the surrounding landscape. The final work forces the viewer to contemplate the relationship between man and nature. Although the reaper is surrounded by a vast landscape he exerts a sense of control and order over nature through the act of harvesting. Silhouetted against a moonlit sky, the reaper appears as a somewhat heroic figure as he reaches the top of the hill.