Opdateret november 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 18 værker af James Henry Beard i vores katalog
Kort sagt
Af alle de originale værker, som James Henry Beard efterlod, er det mest berømte Lyman Beecher (1842), som er en del af samlingen på National Portrait Gallery i Washington, D.C.. Lige efter følger Portrait (1859) og North Carolina Emigrants, Poor White Folk (1845). Vores katalog indeholder 18 værker af James Henry Beard; galleriet har bevaret de 17 værker, som verden beundrer mest, hver vist med sin dato, sit museum og sin historie.
In this 1842 oil portrait, James Henry Beard captures the presence of Lyman Beecher. The sitter meets the viewer's gaze with a quiet, heavy dignity that speaks of a life lived with significant purpose. Every brushstroke works to anchor the man within his era, presenting a figure of gravity and social standing. He sits poised, his expression carrying the weight of wisdom and the stillness of a man accustomed to…
James Henry Beard executed this oil on canvas in 1859. The work, titled Portrait, represents a significant example of the artist's specialized focus on portraiture during the mid-19th century. Beard, an American painter born in Buffalo, United States, established a reputation for capturing the character of his subjects through precise likeness and formal composition.
In this 1845 oil on canvas, a small group of settlers moves through a rural landscape. The composition centers on a man, two women, and a child positioned near a wooden trough and a horse. The figures are rendered with fine brushwork that captures the specific textures of worn fabric and skin. A sense of depth is established through atmospheric perspective, guiding the eye from the subjects on the right…
A young man sits in quiet introspection, his chin resting heavily upon folded hands atop a weathered wooden post. He is dressed in a dark brown jacket and a red neckercloth, topped by a large, floppy brown cap. At his side, a small wooden cage containing blue fabric rests near the edge of the frame. The composition is vertical, centering the subject against a turbulent, cloudy sky of muted blues…
The gaze of Lyman Beecher meets the viewer from within this 1842 oil portrait. James Henry Beard captures the man not merely as a likeness, but as a presence defined by his historical weight. The subject, a prominent American Presbyterian minister and abolitionist, sits with a quiet, heavy dignity that suggests a life of significant purpose and moral conviction. Every line on his face speaks to the gravity of his…
Moving Further Westward was painted by James Henry Beard about 1840. An American painter, Beard was born in Buffalo, United States, in 1812. He remained active in the United States throughout his career until his death in 1893 in Flushing, Queens, New York.
A formal mid-19th-century oil portrait, this bust-length study captures an elderly man in a moment of quiet composure. The subject faces toward the viewer's left, though his gaze meets the observer directly, establishing an immediate sense of intellectual presence. He is rendered with a classical realist sensibility, characterized by a somber palette of deep blacks, creamy whites, and earthy sepia tones. The lighting, descending from the upper left, carves the…
The gaze of a middle-aged man meets the viewer in this formal oil portrait, titled John Davies Jones. Painted by James Henry Beard, the work captures a moment of quiet dignity. The subject sits poised, his presence filling the space with a sense of scholarly weight. He carries the air of a man settled in his years, his expression steady and composed.
This 1870 oil portrait presents a bust-length depiction of an elderly man named Peter Gibson. The subject is positioned slightly off-center, facing toward the viewer's left while his gaze remains directed forward. He is rendered with a calm expression that suggests stability and solemnity. The composition utilizes a dark, indistinct, and atmospheric void as a background, which directs all visual attention toward the subject's face and torso. A sharp contrast…
In this bust-length portrait, James Henry Beard positions Martha Gibson centrally against a dark, indistinct background. The subject occupies the middle of the frame, emerging from a murky, charcoal-toned space that offers no distraction from her presence. A muted color palette dominates the scene, relying on deep blacks and somber, olive shadows to define the space. The light enters from the upper left, casting soft, directional shadows across the right…
John Rogers III (1866-1939)1870 · New York Historical Society
12
Studio to Let1864 · Herbert F. Johnson Museum of Art
13
DeWitt McClellan Lockman (1870-1957)1879 · New York Historical Society
14
William Henry Harrison1840 · National Portrait Gallery
15
THE LAST VICTIM OF THE DELUGE1849 · Cincinnati Art Museum
16
It Is Very Queer, Isn't ItCrystal Bridges Museum of American Art
17
Lion and Lioness1867
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 James Henry Beard | Malerier fra denne liste |
|---|---|---|---|
 Cincinnati Art Museum |
Cincinnati | 3 | North Carolina Emigrants, Poor White Folk, Moving Further Westward, THE LAST VICTIM OF THE DELUGE |
 New York Historical Society |
New York City | 3 | Gerard Hallock (1800–1866), John Rogers III (1866-1939), DeWitt McClellan Lockman (1870-1957) |
 Cincinnati Museum Center at Union Terminal |
Cincinnati | 3 | John Davies Jones, Peter Gibson, Martha Gibson |
 National Portrait Gallery |
Washington, D.C. | 2 | Lyman Beecher, William Henry Harrison |
 Los Angeles County Museum of Art |
Los Angeles | 1 | Portrait |
 Museum of Fine Arts, Houston |
Houston | 1 | The Young Itinerant |
 Museum of Fine Arts |
Boston | 1 | Lyman Beecher |
 Herbert F. Johnson Museum of Art |
Ithaca | 1 | Studio to Let |
Vælg et årti for at se det originale værk, der definerer det.
In this 1842 oil portrait, James Henry Beard captures the presence of Lyman Beecher. The sitter meets the viewer's gaze with a quiet, heavy dignity that speaks of a life lived with significant purpose. Every brushstroke works to anchor the man within his era, presenting a figure of gravity and social standing. He sits poised, his expression carrying the weight of wisdom and the stillness of a man accustomed to…
James Henry Beard executed this oil on canvas in 1859. The work, titled Portrait, represents a significant example of the artist's specialized focus on portraiture during the mid-19th century. Beard, an American painter born in Buffalo, United States, established a reputation for capturing the character of his subjects through precise likeness and formal composition.
In the quiet, transitional space of Studio to Let, a solitary man moves through a moment of change. Painted by James Henry Beard about 1864, the scene captures a figure who appears to be an artist in the midst of a relocation. He ascends a set of wooden stairs, his presence marked by the heavy belongings he carries, including a large rectangular case and a wooden palette. The weight of…
This 1870 oil portrait presents a bust-length depiction of an elderly man named Peter Gibson. The subject is positioned slightly off-center, facing toward the viewer's left while his gaze remains directed forward. He is rendered with a calm expression that suggests stability and solemnity. The composition utilizes a dark, indistinct, and atmospheric void as a background, which directs all visual attention toward the subject's face and torso. A sharp contrast…
Lyman Beecher (1842), National Portrait Gallery, Washington, D.C.. Derefter følger Portrait (1859) og North Carolina Emigrants, Poor White Folk (1845).
30 år gammel: Lyman Beecher er fra 1842, og James Henry Beard blev født i 1812.
Lyman Beecher, Portrait, North Carolina Emigrants, Poor White Folk, The Young Itinerant, Lyman Beecher, Moving Further Westward, Gerard Hallock (1800–1866), John Davies Jones, Peter Gibson og Martha Gibson. Ranglisten ovenfor viser det enkelte værks årstal og museum.
Vores katalog indeholder 18 værker af James Henry Beard, dateret fra 1840 til 1879.
Primært i Cincinnati Art Museum (Cincinnati), New York Historical Society (New York City) og Cincinnati Museum Center at Union Terminal (Cincinnati). Museumslisten ovenfor viser dem alle.
I 1840s: 8 af de 17 værker på denne side blev skabt dengang, herunder Lyman Beecher.
På denne side er det tidligste Lyman Beecher (1840) og det seneste DeWitt McClellan Lockman (1870-1957) (1879).
Man (9), Portrait (6) og White collar (5), fordelt på de 17 værker på denne side.
Oil On Canvas, for 8 af de 17 værker på denne side.
North Carolina Emigrants, Poor White Folk, Moving Further Westward og THE LAST VICTIM OF THE DELUGE: Cincinnati Art Museum, Cincinnati har 3 af værkerne på denne side.
James Henry Beard (22. april 1812 – 1893) var en amerikansk maler, der specialiserede sig i portrættets genre. Han opnåede stor anerkendelse for sine skildringer af fremtrædende skikkelser og, senere i livet, for sine charmerende fremstillinger af husdyr.
Født i Buffalo, New York, var Beard søn af engelske og skotske immigranter. Hans kunstneriske anlæg viste sig tidligt og blomstrede hurtigt op, efter at hans familie flyttede til Ohio. Det var her, han begyndte seriøst at forfine sine evner som kunstner. Han studerede under Jarvis Frary Hanks i Painesville, Ohio, hvor han modtog den grundlæggende træning, der skulle komme til at forme hans fremtidige karriere.
I sine formative år eksperimenterede Beard med en bred vifte af maleteknikker, herunder akvarel, akryl og pastel, før han fandt sin sande kaldelse i portrætkunsten, som blev hans foretrukne genre. Hans tidlige værker portrætterede ofte sofistikerede og betydningsfulde skikkelser som Henry Clay og John Quincy Adams. Gennem sit penselstrøg udviste han en enestående evne til ikke blot at indfange sit motivs ydre lighed, men også at vække deres dybere karakter og personlighed til live på lærredet.
I 1846, i en alder af 32 år, vendte Beard tilbage til New York City i søgen efter større eksponering for sit kunstneriske virke. Hans dedikation og flid blev belønnet i 1848, da han blev optaget i den prestigefyldte National Academy of Design. Ved 1870'ernes begyndelse havde han gjort New York til sit permanente hjem, hvor hans kunst kunne blomstre frit.
Beard er måske bedst kendt for sin senere serie af malerier, der skildrer hunde og katte. Disse værker udviser en legende og kærlig følsomhed, som indfanger de unikke personligheder hos disse elskede kæledyr. Dette skift i motivverdenen udvidede hans appel og cementerede hans plads i amerikansk kunsthistorie.
Blandt hans mest markante værker finder vi The Illustrious Guest fra 1847, en portrættering af den amerikanske senator Henry Clay, som på smukkeste vis afslører både Beard’s politiske overbevisninger og hans skarpe, observerende evner. Hans evne til at skildre dyr med en næsten ophøjet værdighed og realisme ses tydeligt i værket Lion and Lioness, hvor han formår at indfange dyrenes essens med stor præcision. Endelig står It Is Very Queer, Isn't It som et glimrende eksempel på hans evne til at skabe charmerende og livfulde dyreportrætter, der taler direkte til beskuerens hjerte.
James Henry Beards kunstneriske virke tilbyder et uvurderligt indblik i det 19. århundredes amerikanske samfund og kultur. Hans portrætter giver os en unik mulighed for at forstå de fremtrædende personers liv og væsen, mens hans skildringer af dyr afspejler den voksende sentimentalitet og kærlighed til kæledyr, som prægede denne æra. Hans evne til gennem hele karrieren at transformere både stil og motivvalg vidner om en bemærkelsesværdig kunstnerisk alsidighed, der har sikret hans plads i kunsthistorien.
Beards værker var præget af hans læremester Jarvis Frary Hanks, men hans kunstneriske udtryk var også dybt forankret i den brede portrættradition, der dominerede det 19. århundredes Amerika. Han fandt løbende inspiration i samtidens kunstnere og i de skiftende æstetiske strømninger, der prægede tiden.
Selvom han ikke nødvendigvis var en revolutionær skikkelse, har Beards vedvarende kvalitet og hans evne til at vælge fængslende motiver sikret ham en fortsat anerkendelse som en bemærkelsesværdig amerikansk kunstner.
