Портрет на James Peter Quinn

13-те най-известни картини на James Peter Quinn, селекция от галерията

Обновено Ноември 2026 · класирано според нашия индекс на популярност (търсения, посещения и поръчки за всяко произведение) · 15 творби на James Peter Quinn в нашия каталог

Накратко

От всички оригинали, оставени от James Peter Quinn, най-известният е A Japanese Lady (1914), който се намира в колекцията на Walker Art Gallery, Ливърпул. След тях непосредствено следват Lillias Hamilton (1858–1925), Physician (1924) и LIEUTENANT R.G. COMBE, THE VICTORIA CROSS (1910). Нашият каталог съдържа 15 произведения на James Peter Quinn; галерията е съхранила 13-те най-обожавани от света, всяко от тях представен с неговата дата, неговия музей и неговата история.

1869 – 1951, Melbourne Най-много творби: Canadian War Museum

Топ 10-те картини на James Peter Quinn: изборът на галерията

1
A Japanese Lady (1914) на James Peter Quinn

A Japanese Lady

1914 · Oil On Canvas · Walker Art Gallery, Ливърпул

A Japanese Lady is a portrait executed by James Peter Quinn in 1914. The work focuses on a woman characterized by her dark hair and traditional Asian attire. Quinn, an Australian portraitist born in Melbourne, established a significant presence in the art world through his academic training in Paris and his later service as an official war artist.

2
Lillias Hamilton (1858–1925), Physician (1924) на James Peter Quinn

Lillias Hamilton (1858–1925), Physician

1924 · Oil

The woman stands before us, draped in a heavy red cape that commands the space around her. She holds her hands clasped together, a gesture of quiet composure that suggests a mind accustomed to discipline and steady thought. Her attire, formal and purposeful, hints at a life lived within the rigorous structures of academia or the demanding precision of medicine. There is a stillness in her posture, yet the way…

3
LIEUTENANT R.G. COMBE, THE VICTORIA CROSS (1910) на James Peter Quinn

LIEUTENANT R.G. COMBE, THE VICTORIA CROSS

1910 · Oil · Canadian War Museum, Ottawa

The canvas holds a man of quiet weight. Lieutenant R.G. Combe sits in a three-quarter profile, his gaze directed toward an unseen point to the left. He wears a military tunic of deep olive green, the fabric rendered with thick, impasto strokes that suggest the heavy texture of wool. Light falls from the upper left, carving the contours of his face and casting soft, directional shadows that define the bridge…

4
LIEUTENANT COLONEL W.A. BISHOP (1910) на James Peter Quinn

LIEUTENANT COLONEL W.A. BISHOP

1910 · Oil On Canvas · Canadian War Museum, Ottawa

In the portrait LIEUTENANT COLONEL W.A. BISHOP, James Peter Quinn presents a three-quarter length depiction of the military officer. The subject is positioned slightly off-center against a dark, indeterminate background that lacks specific environmental detail. This compositional choice focuses the viewer's attention entirely on the sitter and his attire. The officer is rendered in full military regalia, which includes visible medals, insignia, and a cross-belt. The arrangement of these elements…

5
Major Okill Massey Learmonth (1918) на James Peter Quinn

Major Okill Massey Learmonth

1918 · Oil On Canvas · Canadian War Museum, Ottawa

The gaze of Major Okill Massey Learmonth meets the viewer through this formal oil portrait by the Australian portrait painter James Peter Quinn. Painted about 1918, the work captures a man defined by his service and the weight of his command. Learmonth holds the rank of acting Major in the 2nd (Eastern Ontario) Battalion of the Canadian Expeditionary Force, a position that carries a heavy sense of duty within the…

6
William Self Weeks (1934) на James Peter Quinn

William Self Weeks

1934 · Oil On Canvas

In this 1934 portrait, we find ourselves in the presence of William Self Weeks, captured in a moment of quiet, seated contemplation. The subject occupies the center of the frame, his presence established by a dark, formal suit and a waistcoat that suggests a life of significant standing. He sits within a dark wooden chair, his hands resting with a certain weight, one holding a folded piece of paper that…

Изборът на James Peter Quinn продължава, от 11 до 13

Темите, които привличат погледа на James Peter Quinn

Четирите найчесто срещани теми в тези оригинални творби, всяка с най-добрия си пример.

Музеите, в които се съхраняват оригиналите на James Peter Quinn

5 музея, които притежават най-голям брой от картините на тази страница.

Музеи Град Творения на James Peter Quinn Картини от този списък
Canadian War Museum, OttawaCanadian War Museum Ottawa 3 LIEUTENANT R.G. COMBE, THE VICTORIA CROSS, LIEUTENANT COLONEL W.A. BISHOP, Major Okill Massey Learmonth
Art Gallery of New South Wales, СидниArt Gallery of New South Wales Сидни 2 George Bell (artist and critic), The rendezvous
Walker Art Gallery, ЛивърпулWalker Art Gallery Ливърпул 1 A Japanese Lady
Government Art Collection, ЛондонGovernment Art Collection Лондон 1 Arthur, Duke of Connaught and Strathearn (1850–1942) (copy after John Singer Sargent)
The National Trust For Scotland, ФорресThe National Trust For Scotland Форрес 1 Fish Market at Étaples, France

James Peter Quinn десетилетие по десетилетие: оригиналът, който дефинира всяко от тях

Произведения по десетилетия

Изберете десетилетие, за да видите оригиналната творба, която го определя.

Въпроси на колекционерите относно картините на James Peter Quinn

С кое произведение е най-известен James Peter Quinn?Разкрийте отговора

A Japanese Lady (1914), Walker Art Gallery, Ливърпул. Следват Lillias Hamilton (1858–1925), Physician (1924) и LIEUTENANT R.G. COMBE, THE VICTORIA CROSS (1910).

На каква възраст е бил James Peter Quinn, когато е създадена A Japanese Lady?Разкрийте отговора

45 години: A Japanese Lady е от 1914 г., а James Peter Quinn е роден/а в 1869.

Кои са десетте най-известни картини на James Peter Quinn?Разкрийте отговора

A Japanese Lady, Lillias Hamilton (1858–1925), Physician, LIEUTENANT R.G. COMBE, THE VICTORIA CROSS, LIEUTENANT COLONEL W.A. BISHOP, Major Okill Massey Learmonth, William Self Weeks, George Bell (artist and critic), C. J. Bowen Cooke, London and North Western Railway, Dr Robert Aitken (1869–1951) и Arthur (1850–1942), Duke of Connaught, President of the Bible Society (copy of John Singer Sargent). Класацията по-горе показва годината и музея за всяко от тях.

Колко картини е оставил James Peter Quinn?Разкрийте отговора

В нашия каталог са представени 15 произведения на James Peter Quinn, датирани от 1910 до 1939.

В кои музеи са изложени шедьоврите на James Peter Quinn?Разкрийте отговора

Предимно в Canadian War Museum (Ottawa), Art Gallery of New South Wales (Сидни) и Walker Art Gallery (Ливърпул). В горната таблица с музеи са изброени всички тях.

В кои години James Peter Quinn е създал най-известните си произведения?Разкрийте отговора

В 1930s: 5 от 13 произведенията на тази страница са създадени тогава, като William Self Weeks са сред тях.

Кои са първата и последната известни оригинални творби на James Peter Quinn?Разкрийте отговора

На тази страница най-старата е LIEUTENANT R.G. COMBE, THE VICTORIA CROSS (1910), а най-новата е George Bell (artist and critic) (1939).

Кои теми избира най-често James Peter Quinn?Разкрийте отговора

Man (5), Chair (3) и Portrait (3), разпределени в 13 произведения на тази страница.

Коя техника използва най-често James Peter Quinn?Разкрийте отговора

Oil On Canvas, за 4 от 13 произведения на тази страница.

Кои произведения на James Peter Quinn се съхраняват в Canadian War Museum?Разкрийте отговора

LIEUTENANT R.G. COMBE, THE VICTORIA CROSS, LIEUTENANT COLONEL W.A. BISHOP и Major Okill Massey Learmonth: Canadian War Museum, Ottawa притежава 3 от произведенията на тази страница.

James Peter Quinn: живот и творчество

Early Life and Artistic Foundations

James Peter Quinn, born in Melbourne, Australia, in 1869, emerged as a significant figure in Australian portraiture at the turn of the twentieth century. His artistic journey began with formative studies under Frederick McCubbin at the National Gallery of Victoria Art School, laying a foundation steeped in the traditions of Australian landscape painting. This early exposure was broadened by tutelage from George Folingsby and Bernard Hall, further refining his skills before he embarked on an ambitious period of study in Paris between 1893 and 1901. At the Académie Julian and École des Beaux-Arts, under the guidance of Jean Paul Laurens, Quinn absorbed the techniques and aesthetic sensibilities of European academic art—a crucial step that would shape his distinctive style. His time at the Etaples art colony in northern France proved particularly influential, fostering camaraderie with fellow Australian artists like Rupert Bunny and Hilda Rix Nicholas, and exposing him to a vibrant artistic community.

The Rise of a Portraitist

By 1904, Quinn had firmly established himself as a highly sought-after portrait painter. His work resonated with an audience captivated by his ability to capture not merely likenesses but the very essence of his sitters. Exhibiting at the prestigious Royal Academy of Arts signaled his arrival on the international art scene. The recognition he received in 1912, with an honourable mention for *Mère et Fils* (a portrait of his wife and son) at the Salon in Paris, further cemented his reputation. This success led to a series of commissions from prominent figures—Joseph Chamberlain, the Duchess of York, and even the Duke of Windsor all entrusted their portraits to Quinn’s skilled hand. He possessed an innate talent for conveying social status and personality through meticulous detail and subtle nuances of expression.

Wartime Service and the Portrait of Monash

The outbreak of World War I brought a new dimension to Quinn's career, as he was appointed official war artist for the First AIF. While tasked with documenting the conflict, his focus shifted towards portraying the officers serving in France. This period proved fraught with challenges, marked by friction with authorities and fellow artists—a testament to his independent spirit and uncompromising artistic vision. However, it also yielded one of his most enduring masterpieces: the portrait of General Sir John Monash, Commander-in-Chief of the Australian Corps. Monash, a pivotal figure in the Allied victory at Amiens in 1918, became an iconic subject for Quinn. The resulting portrait, celebrated for its powerful depiction of leadership and integrity, remained within the Monash-Bennett family for decades before being gifted to the National Portrait Gallery of Australia in Canberra. It served as the model for the prestigious Monash Medal, awarded annually to Australians who demonstrate exceptional service to their community.

Later Years and Artistic Legacy

Following his wartime experiences, Quinn continued his work with Canadian War Records before returning to Australia in December 1935 after the tragic loss of his son René. Back on Australian soil, he rejoined the Victorian Artists Society, even serving as its president for a remarkable twelve years. He also became a founding member of the Australian Academy of Art, an organisation established by Robert Menzies that championed traditional artistic values. Despite his conservative affiliations, Quinn’s openness to modern art often led to public confrontations and debates—underscoring his complex relationship with the evolving art world. Throughout his later years, he continued to exhibit his paintings and impart his knowledge as a teacher at the National Gallery of Victoria Art School. A commemorative exhibition in 1980, curated by Alison Fraser, brought renewed attention to his portraiture, rescuing it from relative obscurity and solidifying his place in Australian art history. Quinn’s legacy lies not only in his masterful portraits but also in his ability to capture the spirit of an era—a testament to his enduring artistic vision and unwavering commitment to his craft.