Opdateret november 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 81 værker af Frank Bernard Dicksee i vores katalog
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I galleriets øjne er Frank Bernard Dicksees mest berømte maleri The Funeral of a Viking (1893), hvis original hænger på Manchester Art Gallery i Manchester. Romeo And Juliet og The Mother (1910) fuldender trioen, som ethvert øje genkender. Ud af de 81 værker af Frank Bernard Dicksee i vores katalog præsenterer galleriet herunder de 66 mest berømte, hver som et originalværk med årstal, museum og det, der gør det unikt.
The air thickens with the scent of salt and burning timber as a funeral pyre consumes a wooden vessel. Flames lick upward, casting long, dancing shadows across the faces of those gathered at the water's edge. A boat, once a vessel of strength and travel, now sinks slowly into the churning depths, its hull surrendered to the heat and the tide. Men stand in heavy silence, their silhouettes etched against…
The artwork Romeo And Juliet presents a deeply intimate scene of two figures caught in an embrace. Positioned within the frame of an arched window, the couple is the central focus of the composition, set against a backdrop of a cityscape during sunset. The lighting is particularly striking, as a warm glow emanates from behind the figures, creating a halo effect that illuminates their faces and the textures of their…
In this 1910 oil on canvas, we find ourselves in a moment of profound intimacy. The subject is a woman seated on a couch, her arms cradling a young child close to her chest. There is a stillness here, a sense of a private world shared between mother and child. The child looks upward, eyes filled with a sense of wonder and curiosity, while the mother gazes down with a…
A dramatic scene of conflict unfolds within a dense, wooded landscape as the sun sets on the horizon. On the left, a knight clad in silver plate armor stands in a triumphant posture over a fallen adversary. He holds a sword aloft, his body angled toward the center of the composition. To the right, a woman with long, flowing red hair and pale skin gazes toward the knight with an…
In "Study for 'Startled'" by Frank Bernard Dicksee, a single female figure occupies the center of the frame. This monochromatic preparatory study captures a nude form in a moment of sudden, mid-stride motion. The body is caught in a dynamic pose, a sudden shift of weight that suggests the subject has been startled. Anatomical precision guides the lines of the limbs, tracing the tension of muscle and the grace of…
In the quiet, opulent corners of late 19th-century British art, few works capture the delicate intersection of beauty and introspection as masterfully as Sir Francis Bernard (Frank) Dicksee’s The Mirror. Painted in 1896, this breathtaking portrait serves as a window into the Romantic ideals of the Victorian era, where every texture and gesture was imbued with profound meaning. The painting presents us with a woman of remarkable grace, seated in…
The work is a product of the late nineteenth-century British tradition, a period where artists often looked toward literary and mythological themes to explore human emotion. This piece reflects the era's interest in idealized beauty and the ability to transform a single, frozen moment into a study of grace and intensity. The technique is rooted in the rigorous classical training of the Royal Academy Schools, emphasizing a meticulous attention to…
The scene captures a moment of profound tension within the biblical narrative of Naboth's vineyard. Jezebel and Ahab are positioned in close proximity, their physical closeness contrasting with the psychological distance created by their conflicting motives. Jezebel’s gesture, a pointed finger directed toward a specific figure or event, signals the onset of a decisive and perhaps catastrophic action. The presence of Elijah introduces a spiritual weight to the encounter, as…
Miss Elsie (Elspeth) Thomson1881
12
The Foolish Virgins, 'Too late, ye cannot enter now'1883 · New Walk Museum - Art Gallery
13
Interior with a Lady1891 · Sheffield City Art Galleries
14
My Lady Fair1903 · Manchester Art Gallery
15
An Italian Garden
16
Beatrice stuart
17
Gabriel And Evangeline
18
Mother And Child
19
Reverie - A Voice From Far Away
20
The Duet
21
Self Portrait
22
John Belcher1906 · Royal Institute of British Architects
23
Godfrey Rathbone Benson, Baron Charnwood1919 · Staffordshire County Buildings Picture Collection
24
Miss Edith Fitton1926
25
Hesperia1887
26
Joan Marion Neville1908 · Maidstone Museum - Bentlif Art Gallery
27
La belle dame sans merci1901 · Bristol Museum And Art Gallery
28
Chapel Bridge at Lake Lucerne
29
From Kings Ley Green near Haslemere
30
Madame de Navarro as Hermione in a 'Winter's Tale
31
A Surrey Landscape
32
Evening Light Falling on a Quarry
33
Memories
34
Colonel Sir Francis H. D. C
35
It is I, be not afraid
36
O, Think'st Thou We Shall Ever Meet Again
37
The confession
38
Miranda
39
Portrait Of The Honorable Mrs Ernest Guiness
40
Portrait of Miss Dorothy Dicksee
41
The Magic Crystal
42
Lamplight Study of Interior with Lady
43
Harmony
44
Thomas francis cleopatra
45
Sylvia (detail)
46
Portrait Of A Lady Said To Be The Artist's Wife
47
Solomon
48
La belle dam sans merci
49
Contemplation
50
Henry Cubitt GoochNational Portrait Gallery
51
Too late! Too late! Ye cannot enter now
52
The House Builders
53
This For Remembrance
54
Portrait Of Elsa, Daughter Of William Hall
55
The Symbol - 'is It Nothing To You
56
Study Of An Upturned Head
57
The Foolish Virgins
58
An offering
59
Lady Palmer
60
Charlotte Mary Emily Nugent-dunbar, Wife Of 3rd Baron Inverclyde
61
An Urban Family
62
The End of the Quest
63
A Reverie
64
Alice Anne Graham-montgomery, Duchess Of Buckingham And Chandos And Countess Egerton Of Tatton
65
Startled
66
Oriental Pastime
De fire motiver, der optræder hyppigst i disse originaler, hver med sit fineste eksempel.
De 8 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Frank Bernard Dicksee | Malerier fra denne liste |
|---|---|---|---|
 Manchester Art Gallery |
Manchester | 2 | The Funeral of a Viking, My Lady Fair |
 City Art Gallery |
Southampton | 1 | Romeo And Juliet |
 Royal Academy of Arts |
London | 1 | Study for 'Startled' |
 New Walk Museum - Art Gallery |
Leicester | 1 | The Foolish Virgins, 'Too late, ye cannot enter now' |
 Sheffield City Art Galleries |
Sheffield | 1 | Interior with a Lady |
 Royal Institute of British Architects |
London | 1 | John Belcher |
 Staffordshire County Buildings Picture Collection |
Stoke-on-Trent | 1 | Godfrey Rathbone Benson, Baron Charnwood |
 Maidstone Museum - Bentlif Art Gallery |
Maidstone | 1 | Joan Marion Neville |
Vælg et årti for at se det originale værk, der definerer det.
A dramatic scene of conflict unfolds within a dense, wooded landscape as the sun sets on the horizon. On the left, a knight clad in silver plate armor stands in a triumphant posture over a fallen adversary. He holds a sword aloft, his body angled toward the center of the composition. To the right, a woman with long, flowing red hair and pale skin gazes toward the knight with an…
The air thickens with the scent of salt and burning timber as a funeral pyre consumes a wooden vessel. Flames lick upward, casting long, dancing shadows across the faces of those gathered at the water's edge. A boat, once a vessel of strength and travel, now sinks slowly into the churning depths, its hull surrendered to the heat and the tide. Men stand in heavy silence, their silhouettes etched against…
In this 1910 oil on canvas, we find ourselves in a moment of profound intimacy. The subject is a woman seated on a couch, her arms cradling a young child close to her chest. There is a stillness here, a sense of a private world shared between mother and child. The child looks upward, eyes filled with a sense of wonder and curiosity, while the mother gazes down with a…
The painting Miss Edith Fitton by Sir Francis Bernard Frank Dicksee is a stunning example of the artist's skill in capturing the essence of his subjects. Created in 1926, this oil on canvas piece measures 140 x 85 cm and is currently housed at the Haslemere Educational Museum in the United Kingdom. The Artist's Style and Inspiration Sir Francis Bernard Frank Dicksee was a British painter and illustrator, known for…
The Funeral of a Viking (1893), Manchester Art Gallery, Manchester. Derefter følger Romeo And Juliet og The Mother (1910).
40 år gammel: The Funeral of a Viking er fra 1893, og Frank Bernard Dicksee blev født i 1853.
The Funeral of a Viking, Romeo And Juliet, The Mother, Chivalry, Study for 'Startled', The Mirror, Dawn, Jezabel And Ahab Meeting Elijah In Naboth's Vineyard Giclee, Harmony og The House Builders. Ranglisten ovenfor viser det enkelte værks årstal og museum.
Vores katalog indeholder 81 værker af Frank Bernard Dicksee, dateret fra 1877 til 1926.
Primært i Manchester Art Gallery (Manchester), City Art Gallery (Southampton) og Royal Academy of Arts (London). Museumslisten ovenfor viser dem alle.
I 1880s: 5 af de 66 værker på denne side blev skabt dengang, herunder Chivalry.
På denne side er det tidligste Harmony (1877) og det seneste Miss Edith Fitton (1926).
Victorian era (9), Portraiture (5) og Woman (5), fordelt på de 66 værker på denne side.
Oil, for 3 af de 66 værker på denne side.
Pre-raphaelite, baseret på originalerne på denne side.
The Funeral of a Viking og My Lady Fair: Manchester Art Gallery, Manchester har 2 af værkerne på denne side.
Sir Francis Bernard Dicksee, som mange kærligt kendte som Frank, står som en lysende skikkelse i vævningen af victoriansk kunsthistorie. Han blev født i London i 1853, og hans liv var skæbnebestemt til et dybt engagement med æstetikken omkring skønhed og drama. Han stødte ikke blot tilfældigt ind i skønne kunstarter; snarere arvede han en dyb kunstnerisk slægt fra sin far, Thomas Dicksee, hvis tidlige vejledning indpodede den unge kunstner med en ærefrygt for klassisk teknik og narrativ kraft. Ved at vokse op i den livlige atmosfære i Fitzroy Square, Bloomsbury, blev Dicksee opslugt af en kultur, hvor penselstrøget var et redskab til historiefortælling, hvilket lagde grundstenen til en karriere, der i sidste ende ville føre ham til de højeste cirkler i det britiske kunstetablissement.
Hans formelle uddannelse begyndte ved Royal Academy Schools i 1870, en periode, der gav det stringente tekniske fundament, der var nødvendigt for at udføre hans større, mere fantasifulde visioner. Selvom hans rødder var solidt plantet i klassisk disciplin, var hans ånd dybt sammenflettet med den spirende interesse for prærafaelitisk æstetik. Selvom han ikke var et officielt medlem af prærafaelitterne, er indflydelsen fra mestre som Dante Gabriel Rossetti og William Holman Hunt uomtvistelig i hans værker. Fra dem overtog han en forpligtelse til at indfange idealiseret skønhed, ofte gennemstrømmet af mytologiske eller litterære referencer, samt en dedikation til omhyggelige detaljer, der krævede beskuerens fulde, kontemplative opmærksomhed.
Dicksees samlede værker fejres for deres evne til at bygge bro mellem historisk dokumentation og romantisk drømmeri. Han besad en sjælden gave til at transformere litterære legender til levende, følelsesladede realiteter. Man kan ikke diskutere hans bidrag til kunsten uden at reflektere over hans hjemsøgende smukke skildring af La belle dame sans merci. Inspireret af John Keats' evokative poesi demonstrerer dette mesterværk hans beherskelse af komposition og ekspressiv penselføring, som transporterer beskueren ind i en middelalderlig verden af fortryllelse og melankoli. På samme måde viser værker som The Mother hans evne til at skifte fra det episke til det intime, hvor han indfanger den ømme essens af hengivenhed og menneskelig forbindelse med en åndeløs realisme.
Ud over legenderne var Dicksee en mester i portrætkunst, særligt bemærket for sine udsøgte fremstillinger af modens kvinder. Disse portrætter var mere end blot ligheder; de var studier i ynde, elegance og de subtile psykologiske dybder hos hans motiver. Gennem brugen af tynde lasurer af oliemaling opnåede han en bemærkelsesværdig tonal subtilitet og en atmosfærisk dybde, der fik lyset til at virke som om, det emanerede fra selve lærredet. Uanset om han portrætterede det eftertænksomme blik hos en herre i John Belcher eller den raffinerede sofistikering hos Miss Edith Fitton, tjente hans teknik altid det ultimative mål om emotionel resonans.
Dicksees karriere var præget af konstant prestige og voksende indflydelse i den britiske kunstverden. Hans talent blev anerkendt tidligt, hvilket førte til hans valg som medlem af Royal Academy i 1891. Denne opstigning kulminerede i en af de mest betydningsfulde æresbevisninger, en kunstner kunne opnå: at tjene som præsident for Royal Academy i 1924. Hans bidrag til kunsten var så dybdegående, at han blev slået til ridder i 1925, et vidnesbyrd om hans status som en søjle i sin æra. Hans arbejde forbliver et livsvigtigt vindue ind i det sene 1800-tals sjæl, som afspejler en periode defineret af romantisk idealisme og en urokkelig tro på skønhedens kraft.
I dag fortsætter arven efter Sir Frank Dicksee med at inspirere beundring hos både samlere og historikere. Hans malerier, som nu er indhyllet i prestigefyldte institutioner som Bristol Museum and Art Gallery og Haslemere Educational Museum, tjener som vedvarende monumenter over en forsvundet æra af håndværksmæssig dygtighed. Han forbliver en definerende stemme fra den victorianske æra, en kunstner der kunne væve trådene fra historie, litteratur og personlig følelse sammen til en sømløs, lysende gobelin af lys og farve.
