Opdateret oktober 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 101 værker af John Phillip i vores katalog
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Mary MacKay Caird, later Mrs James Glen (1847 - 1940) (1866) er det maleri af John Phillip, der vækker mest opsigt; originalen findes på Scottish National Gallery, Edinburgh. Derefter falder blikket på William Borthwick Johnstone (1804 - 1868) (1865) og Gonzalo de Vilches, 1st Earl of Vilches (?) (1850). Blandt de 101 værker af John Phillip i vores katalog er disse 100 de mest berømte, hver især et unikt originalværk præsenteret med sit årstal, sit museum og årsagen til dets tidløse betydning.
A young woman is presented in a medium shot, her presence defined by a quiet, formal elegance. She holds a small dog, a detail that anchors the composition in a sense of domestic intimacy. The subject is positioned against a dark, textured background of foliage, which recedes into a distant, twilight landscape. Light enters from the upper left, casting a soft glow upon her face and chest, while the deep…
An elderly man gazes toward the right, his expression marked by quiet introspection and a sense of wisdom. This bust-length portrait utilizes a low-key, dramatic atmosphere to establish a somber tone. The subject's weathered skin and the subtle textures of his clothing are rendered through visible brushstrokes, suggesting the tactile reality of a life lived. Lighting originates from the upper left, casting soft shadows across the right side of the…
A young man occupies the center of this intimate space, his body turned in a three-quarter view that suggests a sudden, quiet movement. He gazes toward the left, his eyes fixed on something unseen beyond the frame, lending the scene a sense of suspended animation. A heavy, dark mantle drapes over his shoulders, its deep shadows swallowing the light, while a crisp white collar breaks the darkness with a sharp,…
The portrait titled Ellen Brown, Mrs William Borthwick Johnstone emerges from the canvas as a quiet study of a woman in her prime. Painted by John Phillip in 1861, the work captures Ellen Brown, the daughter of J. C. Brown, ARSA. She sits with a composed grace that suggests a life of refinement and settled purpose. There is a stillness in her gaze that invites the viewer into her private…
This oil on canvas portrait is titled Rev. Alexander Dyce Davidson, 1807 - 1872. Free Church minister. The work was executed by the artist John Phillip about 1850. It depicts the subject, Rev. Alexander Dyce Davidson, in a formal bust-length composition. The sitter is positioned slightly off-center, facing toward the viewer's right while his gaze meets the observer directly. He is shown wearing a dark clerical garment and a white…
Dorothea Harriet Gibbs (1840 -1914), as a child1844 · Tyntesfield
12
Provost George Henry (1850-1853)1845
13
Disgorging the Fly1841
14
The Highland Home1845
15
Tasso in Disguise Relating his Persecutions to his Sister1840
16
Self Portrait1840
17
Mrs Jean Chalmers1840
18
A Scotch Fair1848
19
The Orange Girl1854 · Birmingham Museum and Art Gallery
20
A Spanish Gipsy Mother1852 · Royal Collection
21
El Paseo1854 · Royal Collection
22
Princess Feodora of Hohenlohe-Langenburg (1839-1872)1852 · Royal Collection
23
Princess Charlotte of Belgium (1840-1927)1852 · Royal Collection
24
Collecting the Offering in a Scottish Kirk1855 · York Art Gallery
25
La Perla de Triana1852
26
William Brodie RSA, sculptor1850
27
John Innes1850
28
Gypsy Musicians of Spain (Spanish Minstrels)1855
29
Sketch for "Drawing For The Militia"1849
30
The Marriage of the Princess Victoria Adelaide, Princess Royal (1840-1901) later Empress of Prussia, to Crown Prince Frederick William of Prussia (1831-1888) later Emperor Frederick III, Emperor of G1858
31
The Promenade1859
32
The Antonia1863
33
The Prison Window1857
34
Princess Beatrice (1857-1944) later Princess Henry of Battenberg1860 · Royal Collection
35
Spanish Boys Playing at Bull-fighting1860 · Scottish National Gallery
36
John Phillip, 1817 - 1867. Artist (Self-portrait)1863
37
William Borthwick Johnstone, 1804 - 1868. Artist1861 · Scottish National Portrait Gallery
38
Samuel Bough, 1822 - 1878. Landscape painter1856 · Scottish National Portrait Gallery
39
Spanish peasants at the well1859
40
Albert (1819–1861), Prince Consort1859
41
La Loteria Nacional1860
42
House of Commons - Study for 'At The House of Commons'1860
43
Kate Nickleby1862
44
Miss Jean Isabella Ross1856
45
Sketch for "The Marriage of the Princess Royal"1858
46
Agua-Bendita - A Church Scene1861
47
The Artist's Spanish Guide1856
48
The Pride of Seville1858
49
La Bomba1863
50
O Nannie, Wilt Thou Gang Wi'me1859
51
Dolores, A Spanish Widow1862
52
Una Maja Bonita1856
53
Spanish Peasants - The Wayside in Andalucia1863
54
'La Gloria': A Spanish Wake1864 · Scottish National Gallery
55
Donald Kennedy of Drumashie, Inverness1865
56
The Spanish Flower Seller1864
57
The Fortune Teller
58
First steps
59
Self-portraitScottish National Gallery
60
The Brig 'Manly'1834
61
Sketch for 'A Scotch Fair'1848
62
Spanish CarnivalFitzwilliam Museum
63
A Highland PiperRoyal Collection
64
Two Boys: Study after 'Spanish Boys Playing at Bull-fighting' (NG 534)Scottish National Gallery
65
Sir Thomas Blaikie, Provost of Aberdeen 1839-47, 1853-56
66
John Smith, First City Architect to Aberdeen
67
Bal Masque
68
Nude Bather - after Rubens
69
Gathering The Offerings
70
Highland Lassie
71
Self Portrait
72
Portrait of a Lady
73
James Hardie
74
Cornelius van der Geest - after Van Dyck
75
The Artist and his Wife
76
Self Portrait
77
Lady Gordon and her Child
78
The Bohemian Woman
79
Charity
80
Scotch Washing
81
Presbyterian catechisingScottish National Gallery
82
Faith1864 · Museum of London
83
Trilobite from Golden Grove
84
In The Garden, Seville
85
At the Opera
86
Spanish Industry
87
Fiesta Time
88
Fair At Seville
89
Life Among The Gypsies, Seville
90
A scottish fair
91
A Scottish Christening
92
A Gypsy Water-Carrier of Seville
93
The orange seller
94
Lord Palmerston Addressing the House of Commons
95
A Scotch Roadside Inn
96
Lady Playing The MandolinWolverhampton Art Gallery
97
The Evil Eye
98
The Dying Contrabandista1858 · Royal Collection
99
The Marriage of Victoria, Princess Royal, 25 January 18581860 · Royal Collection
100
The Letter-Writer of Seville1854 · Royal Collection
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 John Phillip | Malerier fra denne liste |
|---|---|---|---|
 Royal Collection |
London | 9 | A Spanish Gipsy Mother, El Paseo, Princess Feodora of Hohenlohe-Langenburg (1839-1872) |
 Scottish National Gallery |
Edinburgh | 8 | Mary MacKay Caird, later Mrs James Glen (1847 - 1940), William Borthwick Johnstone (1804 - 1868), Ellen Brown, Mrs William Borthwick Johnstone |
 Scottish National Portrait Gallery |
Edinburgh | 3 | Rev. Alexander Dyce Davidson, 1807 - 1872. Free Church minister, William Borthwick Johnstone, 1804 - 1868. Artist, Samuel Bough, 1822 - 1878. Landscape painter |
 Tyntesfield |
3 | Oil painting, Antony Gibbs (1841 - 1907), aged 3, Dorothea Harriet Gibbs (1840 -1914), as a child | |
 Museo del Prado |
Madrid | 1 | Gonzalo de Vilches, 1st Earl of Vilches (?) |
 Birmingham Museum and Art Gallery |
Birmingham | 1 | The Orange Girl |
 York Art Gallery |
York | 1 | Collecting the Offering in a Scottish Kirk |
 Fitzwilliam Museum |
1 | Spanish Carnival |
Vælg et årti for at se det originale værk, der definerer det.
A young man occupies the center of this intimate space, his body turned in a three-quarter view that suggests a sudden, quiet movement. He gazes toward the left, his eyes fixed on something unseen beyond the frame, lending the scene a sense of suspended animation. A heavy, dark mantle drapes over his shoulders, its deep shadows swallowing the light, while a crisp white collar breaks the darkness with a sharp,…
A young woman is presented in a medium shot, her presence defined by a quiet, formal elegance. She holds a small dog, a detail that anchors the composition in a sense of domestic intimacy. The subject is positioned against a dark, textured background of foliage, which recedes into a distant, twilight landscape. Light enters from the upper left, casting a soft glow upon her face and chest, while the deep…
Mary MacKay Caird, later Mrs James Glen (1847 - 1940) (1866), Scottish National Gallery, Edinburgh. Derefter følger William Borthwick Johnstone (1804 - 1868) (1865) og Gonzalo de Vilches, 1st Earl of Vilches (?) (1850).
49 år gammel: Mary MacKay Caird, later Mrs James Glen (1847 - 1940) er fra 1866, og John Phillip blev født i 1817.
Mary MacKay Caird, later Mrs James Glen (1847 - 1940), William Borthwick Johnstone (1804 - 1868), Gonzalo de Vilches, 1st Earl of Vilches (?), Ellen Brown, Mrs William Borthwick Johnstone, Rev. Alexander Dyce Davidson, 1807 - 1872. Free Church minister, Ann Allan, James Blaikie of Craigiebuckler, Provost of Aberdeen (1833-1835), Sketch after Rubens, Oil painting og Antony Gibbs (1841 - 1907), aged 3. Ranglisten ovenfor viser det enkelte værks årstal og museum.
Vores katalog indeholder 101 værker af John Phillip, dateret fra 1831 til 1866.
Primært i Royal Collection (London), Scottish National Gallery (Edinburgh) og Scottish National Portrait Gallery (Edinburgh). Museumslisten ovenfor viser dem alle.
I 1850s: 26 af de 100 værker på denne side blev skabt dengang, herunder Gonzalo de Vilches, 1st Earl of Vilches (?).
På denne side er det tidligste Ann Allan (1831) og det seneste Mary MacKay Caird, later Mrs James Glen (1847 - 1940) (1866).
Man (4), Woman (3) og Portrait (3), fordelt på de 100 værker på denne side.
Oil On Canvas, for 6 af de 100 værker på denne side.
Academic realism, baseret på originalerne på denne side.
A Spanish Gipsy Mother, El Paseo og Princess Feodora of Hohenlohe-Langenburg (1839-1872): Royal Collection, London har 9 af værkerne på denne side.
Født i det barske landskab i Aberdeen, Skotland, i 1817, ville John Phillip med tiden overskride sine beskedne begyndelser for at blive en af den victorianske æras mest stemningsfulde stemmer. Affektionsfuldt kendt under øgenavnet "Spanish Phillip," var hans rejse præget af en dyb transformation, hvor han bevægede sig fra de omhyggelige, dyster beskrivelser af det skotske landliv til de solbeskinnede, levende lærreder fra Sydeuropa. Hans tidlige år var præget af et spirende talent, der fangede de indflydelsesrige mæceners opmærksomhed, mest bemærkelsesværdigt Lord Panmure, hvis generøsitet dannede den afgørende bro, så Phillip kunne nå Londons Royal Academy of Arts i 1836. Det var inden for denne prestigefyldte institution, at Phillip fandt sin kunstneriske stamme ved at slutte sig til den indflydelsesrige gruppe kendt som The Clique. Ledet af den excentriske Richard Dadd, delte denne cirkel af kunstnere en dyb ærefrygt for William Hogarths narrative realisme og David Wilkies dramatiske landskaber – principper, der skulle danne fundamentet for Phillips tidlige tekniske mesterskab.
I hans formative år var Phillips pensel dedikeret til det skotske folks værdighed og hårde kår. Han indfangede de stille, ofte udmattende eksistenser hos småbrugere med en præcision, der talte direkte til hans hjemlands sjæl. Disse tidlige værker var kendetegnet ved en omhyggelig detaljegrad og en følelse af from hjemlighed, som afspejlede de kulturelle strømninger i det sene victorianske Skotland. Dog indtraf et skelsættende skift i 1851, ansporet af lægelige råd om at søge mod varmere klimaer af hensyn til hans helbred. Denne pilgrimsrejse til Spanien var ikke blot en helbredende rejse, men en kunstnerisk genfødsel. Da han vandrede gennem gaderne i Sevilla og Madrid, blev Skotlands skygger erstattet af Andalusiens strålende lys. Indflydelsen fra de spanske mestre Bartolom Tamayo, Bartolomé Esteban Murillo og Diego Velázquez begyndte at gennemtrænge hans arbejde og ændrede fundamentalt hans farvepalette og hans tilgang til form.
Overgangen fra den detaljerede, næsten dokumentariske stil fra hans skotske periode til en langt bredere og mere malerisk teknik markerer den mest fascinerende evolution i Phillips karriere. Selvom han indledningsvis gjorde modstand mod den spirende prærafaelitiske bevægelse, begyndte hans senere værker, såsom The Letter Writer, Seville, at udvise en subtil forbindelse til deres lysende kvaliteter. Som hans rejser uddybede hans forbindelse til den spanske ånd, blev hans penselstrøg mere selvsikre og ekspressive, hvilket spejlede de sene karriereudviklinger hos samtidige som John Everett Millais. Han bevægede sig væk fra stive konturer mod en udforskning af tekstur og atmosfære, hvor han brugte impasto til at indfange varmen og støvet i det spanske landskab.
Denne stilistiske modning nåede sit højdepunkt i 1860'erne, hvor hans kompositioner blev mere storslåede og følelsesmæssigt resonante. Hans evne til at væve følgende elementer sammen definerede hans modne periode:
Store bedrifter som The Early Career of Murillo (1864) og La Gloria (1865) står som testamenter til denne periode med mesterskab. I disse værker malede Phillip ikke blot motiver; han malede selve kunsthistorien og hyldede de mestre, der havde inspireret hans egen metamorfose. Hans eftermæle forbliver rollen som brobygger – mellem de dyster traditioner i skotsk genremaleri og den vibrerende, lysfyldte romantik fra Middelhavet. Selvom hans liv blev afbrudt i 1867, efterlod John Phillip et værk, der fortsat fortryller og inviterer beskueren til at træde ud af Nordens grå tåger og ind i de evige, gyldne glimt af hans spanske drømme.
