Opdateret november 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 68 værker af Johannes Harper i vores katalog
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View of Boston (1738) er det maleri af Johannes Harper, der fanger flest blikke. Derefter falder blikket på Portrait of a Man (1720) og Benjamin Moreland, High Master of St. Paul's School (1724). Blandt de 68 værker af Johannes Harper i vores katalog er disse 68 de mest berømte, hver især et unikt originalværk præsenteret med sit årstal, sit museum og årsagen til dets tidløse betydning.
The water of the Boston harbor stretches out in a pale, steady light. Small boats dot the surface, some drifting near the shoreline while others find their place further out in the bay. Figures move upon these vessels, tiny silhouettes of life amidst the salt and tide. Along the grassy edge of the coast, a group of sheep grazes in silence. The scene holds a quiet balance between the industry…
The sitter occupies a central position within a heavy, upholstered chair, a placement that asserts his social standing and authority. A draped curtain hangs behind him, creating a sense of depth and private seclusion. The composition relies on geometric stability, where the rectangular lines of an open book and the structured frame of the chair mirror the precise contours of the man's face. This formal arrangement reflects the early eighteenth-century…
In this 1724 portrait, we encounter Benjamin Moreland, the High Master of St. Paul's School, presented with a quiet, commanding dignity. He is seated in an ornate wooden armchair, his form draped in heavy, reddish-brown silk robes that catch the light with a subtle, satin-like sheen. The weight of the fabric is palpable, suggesting both the physical comfort and the social gravity of his position. He sits slightly off-center, a…
The portrait of Mrs. James Pitts by Johann Harper emerges through layers of oil on canvas, capturing a presence that feels immediate and tangible. The medium allows for a delicate handling of light across the subject's features, where the pigment settles into the weave to create a sense of soft, living skin. Every brushstroke contributes to the weight of her attire, suggesting the heavy drape of fabric through subtle shifts…
In the quietude of John Smibert’s 1726 masterpiece, George Berkeley, we encounter more than just a formal portrait; we are invited into the very sanctuary of a profound mind. The painting presents the future Bishop of Cloyne in a moment of deep, introspective repose. Seated with his hand delicately pressed against his chin, Berkeley’s posture serves as a visual metaphor for the contemplative weight of his philosophical inquiries. There is…
The composition organizes a multi-generational group within a formal interior. This formal family grouping is arranged in a balanced configuration of standing and seated figures, including men, women, and children. The physical proximity of these family members creates a sense of togetherness throughout the scene. The subjects are positioned in a structured manner that emphasizes their social presence and familial connection.
A heavy brown waistcoat anchors the frame, its fabric absorbing the light in deep, earthy shadows. Above the collar, a white cravat cuts a sharp, bright line through the darkness, a stark verticality against the muted tones of the subject's attire. The man’s face emerges from a dark, indeterminate background, caught in a soft chiaroscuro that defines the ridge of a nose and the curve of a cheek. His wig,…
A Member of the Livingston Family by Johann Harper is a formal 18th-century oil portrait of a man, executed about 1740. The composition is a half-length portrait presented within an oval vignette. The subject is a middle-aged man positioned slightly off-center in the frame. He maintains a calm, direct gaze toward the viewer. He wears a powdered white wig characterized by tight curls that frame his face. A white cravat…
Mrs. Nathaniel Cunningham, painted by Johann Harper in 1730, presents a formal portrait of Ann Boucher. The subject is depicted in a three-quarter length pose, capturing her social standing through the specific textures of her attire and her poised demeanor. This oil on canvas work provides a detailed study of 18th-century fashion and character.
In this 1726 portrait, Johann Harper captures the presence of Sir John Rushout, Bt., a man whose life is defined by duty and political influence. The subject, Sir John Rushout, 4th Baronet, gazes out from the canvas with a quiet, steady dignity. He carries the weight of a significant public life, having served as a British army officer and a Whig politician. His steady gaze suggests the composure required of…
Rev. Joseph Sewall1730 · Yale University Art Gallery
12
Nathaniel Byfield1730 · Metropolitan Museum of Art
13
Mrs. Edward Nightingale1727 · Dallas Museum of Art
14
Cardinal Guido Bentivoglio (after Anthony Van Dyke)1719 · Fogg Art Museum
15
Edward Nightingale1723 · Dallas Museum of Art
16
The Bermuda Group1730 · National Gallery of Ireland
17
Portrait of a Man in a Dressing Gown1730 · Slovak National Gallery
18
Edward Winslow (1699-1753)1730 · Yale University Art Gallery
19
Mrs. William Dudley (Elizabeth Davenport)1729 · Museum of Fine Arts
20
William Dudley1729 · Museum of Fine Arts
21
Judge Samuel Sewall1729 · Museum of Fine Arts
22
Mrs. Tyng1729 · Museum of Fine Arts
23
Mrs. James MacSparran (Hannah Gardiner)1732 · Museum of Fine Arts
24
Portrait of John Cotton (1693-1757) Minister of the Newton (Mass) Church; PORTRAIT OF JOHN COTTON (1693-1757), MINISTER OF THE NEWTON, MASSACHUSETTS CHURCH1735 · Gilcrease Museum
25
Portrait of a Woman (Judith Colman Bulfinch?)1734 · Cleveland Museum of Art
26
Portrait of Samuel Pemberton1734 · Museum of Fine Arts, Houston
27
Portrait of Mary Pemberton (1717–1763)1734 · Museum of Fine Arts, Houston
28
Judge Charles Chambers1743 · Museum of Fine Arts
29
John Turner1737 · Museum of Fine Arts
30
Judge Edmund Quincy1737 · Museum of Fine Arts
31
Herkules and Omphales1738 · Nationalmuseum
32
Benjamin Colman1740 · New Britain Museum of American Art
33
Portrait of the Clark Children1746 · Rhode Island School of Design Museum of Art
34
The Bermuda Group (Dean Berkeley and His Entourage)1750 · Yale University Art Gallery
35
Okänd kvinnaNationalmuseum
36
Richard Bill1733 · Art Institute of Chicago
37
Francis Brinley1729 · Metropolitan Museum of Art
38
Mrs. Francis Brinley and Son Francis1729 · Metropolitan Museum of Art
39
Portrait of Sir Francis Grant, Lord Cullen, and His Family1751 · SCAD Museum of Art
40
John Nelson1732 · Fine Arts Museums of San Francisco
41
Hannah Pemberton1734 · Metropolitan Museum of Art
42
Sir Francis Grand and His Family1718
43
Unidentified Man1720
44
Sir John St. Aubyn1724
45
Colonel James Otaway1724
46
Daniel, Peter, and Andrew Oliver1732 · Museum of Fine Arts
47
Mrs. John Ervin (Abigail Phillipsa)1733
48
Major Jean Paul Mascarene1729 · Los Angeles County Museum of Art
49
The Continence of Scipio (after Nicholas Poussin)1726
50
Sir Archibald and Lady Grant1727
51
Jane Clark1732
52
Samuel Browne1734
53
William Browne1734
54
James Bowdoin II1736
55
Mrs. John Pitts1735 · Detroit Institute of Arts
56
Lady in Blue1735 · Georgia Museum of Art
57
Sir William Pepperrell1746 · Peabody Essex Museum
58
Frederick William I, King of Prussia, Elector of BrandenburgNationalmuseum
59
Parting of Hector and AndromacheMuseum of Fine Arts
60
Self-portraitNationalmuseum
61
Portrait of a gentleman
62
Colonel George Douglas, Later 12th Earl of MortonScottish National Gallery
63
Thomas hill (formerly harwood)Attingham Park
64
Allan ramsay
65
Portrait of mary dudley wainwright atkins
66
Portrait of elizabeth kettle
67
Lady Christian Dalrymple, Wife of Sir James Dalrymple, Bt, Daughter of Thomas, 6th Earl of Haddington
68
Portrait of an Unknown ManFitzwilliam Museum
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 Johannes Harper | Malerier fra denne liste |
|---|---|---|---|
 Museum of Fine Arts |
Boston | 10 | Mrs. William Dudley (Elizabeth Davenport), William Dudley, Judge Samuel Sewall |
 Metropolitan Museum of Art |
New York | 5 | Portrait of a Man, Nathaniel Byfield, Francis Brinley |
 Nationalmuseum |
Stockholm | 4 | Herkules and Omphales, Okänd kvinna, Frederick William I, King of Prussia, Elector of Brandenburg |
 Yale Center for British Art |
New Haven | 2 | Benjamin Moreland, High Master of St. Paul's School, Sir John Rushout, Bt. |
 Detroit Institute of Arts |
Detroit | 2 | Mrs. James Pitts, Mrs. John Pitts |
 Art Institute of Chicago |
Chicago | 2 | Captain John Garish, Richard Bill |
 Dallas Museum of Art |
Dallas | 2 | Mrs. Edward Nightingale, Edward Nightingale |
 Yale University Art Gallery |
New Haven | 2 | Edward Winslow (1699-1753), The Bermuda Group (Dean Berkeley and His Entourage) |
Vælg et årti for at se det originale værk, der definerer det.
This oil on canvas, titled Cardinal Guido Bentivoglio (after Anthony Van Dyke), represents a significant work by the Swedish painter Johann Harper. Created about 1719, the portrait captures a moment of quiet authority through the depiction of the high-ranking religious figure. Harper, who was born in Stockholm, brought a refined sensibility to this composition, working from a composition originally established by Van Dyke.
The sitter occupies a central position within a heavy, upholstered chair, a placement that asserts his social standing and authority. A draped curtain hangs behind him, creating a sense of depth and private seclusion. The composition relies on geometric stability, where the rectangular lines of an open book and the structured frame of the chair mirror the precise contours of the man's face. This formal arrangement reflects the early eighteenth-century…
The water of the Boston harbor stretches out in a pale, steady light. Small boats dot the surface, some drifting near the shoreline while others find their place further out in the bay. Figures move upon these vessels, tiny silhouettes of life amidst the salt and tide. Along the grassy edge of the coast, a group of sheep grazes in silence. The scene holds a quiet balance between the industry…
A Member of the Livingston Family by Johann Harper is a formal 18th-century oil portrait of a man, executed about 1740. The composition is a half-length portrait presented within an oval vignette. The subject is a middle-aged man positioned slightly off-center in the frame. He maintains a calm, direct gaze toward the viewer. He wears a powdered white wig characterized by tight curls that frame his face. A white cravat…
View of Boston (1738). Derefter følger Portrait of a Man (1720) og Benjamin Moreland, High Master of St. Paul's School (1724).
50 år gammel: View of Boston er fra 1738, og Johannes Harper blev født i 1688.
View of Boston, Portrait of a Man, Benjamin Moreland, High Master of St. Paul's School, Mrs. James Pitts, George Berkeley, Sir Francis Grant, Lord Cullen, 1658 - 1726. Judge, Captain John Garish, A Member of the Livingston Family, Mrs. Nathaniel Cunningham og Sir John Rushout, Bt.. Ranglisten ovenfor viser det enkelte værks årstal og museum.
Vores katalog indeholder 68 værker af Johannes Harper, dateret fra 1718 til 1746.
Primært i Museum of Fine Arts (Boston), Metropolitan Museum of Art (New York) og Nationalmuseum (Stockholm). Museumslisten ovenfor viser dem alle.
I 1730s: 28 af de 68 værker på denne side blev skabt dengang, herunder View of Boston.
På denne side er det tidligste Sir Francis Grand and His Family (1718) og det seneste Portrait of the Clark Children (1746).
Man (27), Wig (17) og Woman (14), fordelt på de 68 værker på denne side.
Oil On Canvas, for 37 af de 68 værker på denne side.
Baroque, baseret på originalerne på denne side.
Mrs. William Dudley (Elizabeth Davenport), William Dudley og Judge Samuel Sewall: Museum of Fine Arts, Boston har 10 af værkerne på denne side.
John Smibert står som en monumental skikkelse i den amerikanske kunsthistorie, anerkendt som den første akademisk uddannede kunstner, der bragte sine raffinerede færdigheder til de tretten kolonier. Født i Edinburgh, er hans rejse fra en ung lærling i Skotland til en berømt portrætmaler i den nye verden en fortælling om en dyb kunstnerisk migration. Hans tidlige år blev formet af håndværkets praktiske realiteter, da han var i lære hos en husmaler og stukmager, før han drog mod London. Det var i Londons livlige kunstneriske atmosfære, at Smibert for alvor begyndte at forfine sin vision; han arbejdede som vognmaler og kopist, før han endelig kom i lære hos den højt respekterede Sir Godfrey Kneller ved Great Queen Street Academy. Dette stringente akademiske fundament gav ham den tekniske dygtighed, som senere skulle definere hans karriere.
Hans rejser gennem Europa berigede hans æstetiske sanser yderligere. Mellem 1719 og 1722 rejste Smibert til Italien, hvor han fordybede sig i studiet af de gamle mestre. Ved at kopiere værker fra storhertug af Toscanas samling, opsugede han nuancerne i lys, skygge og klassisk komposition. Denne periode med intens observation gjorde det muligt for ham at udvikle en stil karakteriseret ved omhyggelige detaljer og en mesterlig håndtering af chiaroscuro, hvilket skabte portrætter, der besad både fysisk nøjagtighed og en dyb, psykologisk resonans.
Smiberts livsbane ændrede sig uigenkaldeligt, da han blev fristet af biskop Berkeley til at ledsage ham til Amerika. Selvom den ambitiøse plan om at etablere et college på Bermuda aldrig gik i opfyldelse, førte flytningen Smibert til at bosætte sig i Boston, hvor han ville sætte et uudsletteligt præg på det koloniale landskab. I disse nye omgivelser blev han en hjørnesten i den spirende amerikanske kunstscene og etablerede en portrættradition, der ville inspirere generationer af kunstnere, herunder hans søn, Nathaniel Smibert.
Smiberts virke i Boston var kendetegnet ved en evne til at indfange sine subjekters værdighed og sociale status. Hans portrætter, såsom dem af Rev. Joseph Sewall og Richard Bill, er mere end blot ligheder; de er omhyggeligt konstruerede studier af karakter og stand. I disse værker kan man observere:
En af hans mest indflydelsesrige bedrifter er fortsat Dean George Berkeley and His Entourage, også kendt som The Bermuda Group. Dette maleri fungerer som et vigtigt historisk dokument, der indfanger et specifikt øjeblik af kolonial ambition og sammenhængskraften i den atlantiske verden. Gennem sin pensel malede Smibert ikke blot ansigter; han indfangede selve essensen af en æra og byggede bro mellem den europæiske akademiske tradition og den fremspirende identitet i det koloniale Amerika.
