Opdateret november 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 77 værker af Robert Smirke i vores katalog
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The Cession Of Matavai er det maleri af Robert Smirke, der fanger flest blikke. Derefter falder blikket på The wreck of the 'Grosvenor' (1792) og The Earl of Sandwich Refusing to Abandon His Ship During the Battle of Solebay (1793). Blandt de 77 værker af Robert Smirke i vores katalog er disse 77 de mest berømte, hver især et unikt originalværk præsenteret med sit årstal, sit museum og årsagen til dets tidløse betydning.
In The Cession Of Matavai, Robert Smirke presents a complex historical scene centered on the era of European colonization in the Pacific. The work captures a moment of profound cultural encounter, focusing on the tension between two distinct worlds. Smirke, an artist known for his ability to translate narrative depth into visual form, uses this setting to explore themes of power and the shifting dynamics of dominance and vulnerability.
In The wreck of the 'Grosvenor' by Robert Smirke, the chaos of a maritime disaster unfolds before the eyes. This scene captures the harrowing moment an East Indiaman meets its end. The vessel, a three-masted ship of 729 tons, struggles against the fury of the sea. It is a moment frozen in time, reflecting the tragedy that occurred on 4 August 1782. The water churns with a violent energy that…
The oil painting titled The Earl of Sandwich Refusing to Abandon His Ship During the Battle of Solebay was executed by the artist Robert Smirke. This work dates to about 1793. The canvas depicts a specific moment of naval combat, focusing on the central figure of the Earl of Sandwich. The subject matter centers on themes of courage, duty, and leadership during the Battle of Solebay.
The artwork titled Falstaff rebuked was painted by the English painter and illustrator Robert Smirke. This specific work dates to 1795. The piece is an oil on canvas that captures a scene of confrontation between a youthful, regal figure and an older, disheveled man.
The composition centers on a single female figure positioned within a dramatic setting. She is depicted in the role of Lady Macbeth, captured in a moment of intense psychological tension. The subject's posture and facial expression convey a sense of internal turmoil. Her gaze is directed away from the viewer, focused on an unseen point of distress. The lighting emphasizes the contours of her face and the heavy folds of…
The Awakening of King Lear by Robert Smirke centers on a dramatic moment of human interaction. An elderly man with a white beard sits in a large chair, serving as the focal point of the composition. Kneeling before him is a woman in white and light blue drapery, her posture suggesting a gesture of supplication or comfort. This central pairing is framed by two other men who observe the scene…
To gaze upon this depiction of the Port of Zakynthos is to be instantly transported across the azure expanse of the Aegean Sea, far from the clamor of modern life. This work captures not merely a harbor scene, but a moment suspended in time—a vibrant tableau vivant rendered with the delicate precision characteristic of early nineteenth-century topographical studies. The composition itself sings of industry and repose; boats, some moored peacefully…
A Scene From 'the Busybody' From By Mrs Centlivre is a painting by the artist Robert Smirke. This work depicts a specific moment taken from the play written by Mrs Centlivre. The composition captures a dramatic instance from the theatrical text, focusing on the interactions between the characters within a domestic setting.
Diana and ActaeonYale Center for British Art
12
Juliet Nurse
13
Lady Jane Grey
14
The Slaughter Of The Suitors Of Penelope
15
Title Not Known - (10)
16
The SoldierYale Center for British Art
17
Title Not Known -
18
The Afflicted Matron, The Countess Trifaldi, From 'don Quixote'
19
'henry Iv', Part I, Act Ii, Scene 1, The Inn Yard With Gadshill And The Carriers
20
King Lear
21
Mary Isabella Somerset
22
The Treachery Of Colonel Kirke
23
Ulysses And Nausicä
24
Children Playing
25
Cromwell suppressing the mutiny in the army
26
Ulysses Discovered By His Nurse
27
Sancho Panza And The Duchess
28
His Majesty Reviewing The Volunteer Corps Assembled In Hyde Park, In Honour Of His Birthday
29
The Deserter Apprehended
30
The Merry Wives Of Windsor
31
The Martyrdom of Archbishop Cranmer
32
The SchoolboyYale Center for British Art
33
Kneeling female figure with a cup
34
Title Not Known -
35
Title Not Known -
36
The LoverYale Center for British Art
37
Title Not Known
38
Title Not Known -
39
The Order Of Knighthood Conferred On Don Quixote By The Inn Keeper
40
Title Not Known - (9)
41
Title Not Known -
42
Casimire And Lady Pentweazel, From Samuel Foote's Taste
43
Title Not Known -
44
The Astronomers' ClubNational Maritime Museum
45
Don Quixote And Sancho Panza
46
The JusticeYale Center for British Art
47
The InfantYale Center for British Art
48
The Rivals
49
Scene From Samuel Richardson's Pamela
50
Mrs Henry Siddons
51
Melinda And Lucy Consult Kite
52
He Seven Ages Of Man The PantaloonYale Center for British Art
53
Title Not Known - (11)
54
Much Ado About Nothing
55
Lady Pentweazle From Samuel Foote's 'taste'Upton House
56
The Rivals from `Tom Jones
57
Title Not Known - (8)
58
The Two Sons Of Tipu Sahib, Sultan Of MysoreYale Center for British Art
59
Measure For Measure
60
Scene From Bickerstaffe's Play 'the Hypocrite'
61
Falstaff Disguised As Herne With Mrs Ford And Mrs Page
62
The Scandal
63
The Duel
64
Second ChildishnessYale Center for British Art
65
Young Man Lifted From A River, Apparently Drowned
66
The Merry Wives Of Windsor -
67
Scipio And The Hermit
68
Don Quixote At Home, After The Termination Of His Second Sally
69
'henry Iv', Part I, Act V, Scene 4, Falstaff And The Dead Body Of Hotspur
70
The Sleeper Awakened
71
Illustration From Francis Beaumont And John Fletcher's 'the Humorous Lieutenant'
72
Title Not Known -
73
Resuscitation By Doctor Hawes Of A Man Believed Drowned
74
A Scene From 'taste' A Play By Samuel Foote
75
Illustration To Le Strange's 'gil Blas'
76
'love For Love' By William Congreve
77
The Rival Waiting-womenHatchlands Park
De fire motiver, der optræder hyppigst i disse originaler, hver med sit fineste eksempel.
De 4 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Robert Smirke | Malerier fra denne liste |
|---|---|---|---|
 Yale Center for British Art |
New Haven | 13 | The Earl of Sandwich Refusing to Abandon His Ship During the Battle of Solebay, Port of Zakynthos, Greece, Woman Sleeping in the Nude in a Wooded Landscape |
 Upton House |
Banbury | 2 | A Scene From 'the Busybody' From By Mrs Centlivre, Lady Pentweazle From Samuel Foote's 'taste' |
 National Maritime Museum |
London | 1 | The Astronomers' Club |
 Hatchlands Park |
Guildford | 1 | The Rival Waiting-women |
15 år adskiller Robert Smirkes første og sidste daterede originaler vist her, 1790 og 1804: hvert år har sin plads nedenfor.
Vælg et årstal for at se de originale værker.
The composition centers on a single female figure positioned within a dramatic setting. She is depicted in the role of Lady Macbeth, captured in a moment of intense psychological tension. The subject's posture and facial expression convey a sense of internal turmoil. Her gaze is directed away from the viewer, focused on an unseen point of distress. The lighting emphasizes the contours of her face and the heavy folds of…
In The wreck of the 'Grosvenor' by Robert Smirke, the chaos of a maritime disaster unfolds before the eyes. This scene captures the harrowing moment an East Indiaman meets its end. The vessel, a three-masted ship of 729 tons, struggles against the fury of the sea. It is a moment frozen in time, reflecting the tragedy that occurred on 4 August 1782. The water churns with a violent energy that…
Mere fra 1792
The oil painting titled The Earl of Sandwich Refusing to Abandon His Ship During the Battle of Solebay was executed by the artist Robert Smirke. This work dates to about 1793. The canvas depicts a specific moment of naval combat, focusing on the central figure of the Earl of Sandwich. The subject matter centers on themes of courage, duty, and leadership during the Battle of Solebay.
The artwork titled Falstaff rebuked was painted by the English painter and illustrator Robert Smirke. This specific work dates to 1795. The piece is an oil on canvas that captures a scene of confrontation between a youthful, regal figure and an older, disheveled man.
To gaze upon this depiction of the Port of Zakynthos is to be instantly transported across the azure expanse of the Aegean Sea, far from the clamor of modern life. This work captures not merely a harbor scene, but a moment suspended in time—a vibrant tableau vivant rendered with the delicate precision characteristic of early nineteenth-century topographical studies. The composition itself sings of industry and repose; boats, some moored peacefully…
The Cession Of Matavai. Derefter følger The wreck of the 'Grosvenor' (1792) og The Earl of Sandwich Refusing to Abandon His Ship During the Battle of Solebay (1793).
The Cession Of Matavai, The wreck of the 'Grosvenor', The Earl of Sandwich Refusing to Abandon His Ship During the Battle of Solebay, Falstaff rebuked, Sarah Siddons as Lady Macbeth, The Awakening of King Lear, Port of Zakynthos, Greece, A Scene From 'the Busybody' From By Mrs Centlivre, Woman Sleeping in the Nude in a Wooded Landscape og Figure Study of a Nude Woman in a Wooded Landscape. Ranglisten ovenfor viser det enkelte værks årstal og museum.
Vores katalog indeholder 77 værker af Robert Smirke, dateret fra 1790 til 1804.
Primært i Yale Center for British Art (New Haven), Upton House (Banbury) og National Maritime Museum (London). Museumslisten ovenfor viser dem alle.
I 1792: 2 af de 77 værker på denne side blev skabt dengang, herunder The wreck of the 'Grosvenor'.
På denne side er det tidligste Sarah Siddons as Lady Macbeth (1790) og det seneste Port of Zakynthos, Greece (1804).
Women (7), Scenes (4) og Historical scene (3), fordelt på de 77 værker på denne side.
Oil, for 4 af de 77 værker på denne side.
Romanticism og Neoclassicism, baseret på originalerne på denne side.
The Earl of Sandwich Refusing to Abandon His Ship During the Battle of Solebay, Port of Zakynthos, Greece og Woman Sleeping in the Nude in a Wooded Landscape: Yale Center for British Art, New Haven har 13 af værkerne på denne side.
I den britiske kunsthistories storslåede gobelin, hvor mange søgte ære gennem vidtstrakte slagscener eller monumentale portrætter, skabte Robert Smirke en delikat og dybt intim niche. Han blev født i 1753 i den stille by Wigton, nær Carlisle, og var en mand, hvis pensel blev ledt mere af versets rytme end af historiens drama. Som søn af en omrejsende kunstner var hans barndom gennemsyret af selve essensen af observation; han lærte at se verden gennem et prisme af bevægelse og lys, længe før han overhovedet påbegyndte en formel læretid. Denne tidlige eksponering for det omrejsende liv indpodede en livslang ærefrygt for den naturlige verdens subtile detaljer i ham – en kvalitet, der senere skulle definere hans unikke tilgang til det litterære landskab.
Smirkes kunstneriske rejse var præget af en stødig og omhyggelig forædling. Efter at have slebet sine tekniske færdigheder under en heraldisk maler i London, begyndte han at træde frem i den professionelle sfære gennem Incorporated Society of Artists i 1775. Selvom hans tidlige udstillinger var beskedne, afslørede de et spirende talent for at indfange en scenes stille elegance. Han malede ikke blot landskaber; han malede fortællinger. Hans sande mesterskab lå i evnen til at oversætte det skrevne ord til visuel poesi, med et særligt fokus på værker af engelske digtere som James Thomson. Ved at vælge monokrome paletter og indviklede kompositioner skabte Smirke en følelse af tidløshed, der tillod beskueren at træde direkte ind i de klassiske litterære strofer.
Robert Smirkes opstigning i de prestigefyldte sale i Royal Academy står som et vidnesbyrd om hans tekniske kunnen og hans evne til at fange tidens mest kræsne kritikere. Hans valg som Associate Academician i 1791, efterfulgt af fuld akademikerstatus i 1793, markerede hans overgang fra en lovende illustrator til en grundsten i det britiske kunstetablissement. Det var i denne periode, at hans mest fejrede værker begyndte at resonere med den offentlige fantasi. Værker som Narcissus and the Lady og Sabrina – motiver hentet fra Miltons Comus – udviste en dyb følsomhed over for de atmosfæriske kvaliteter i myte og legende.
Smirkes arbejde er karakteriseret ved flere definerende elementer, der adskilte ham fra hans samtidige:
Selv hans diplomarbejde, Don Quixote and Sancho, afspejlede hans dedikation til karakter og narrativ dybde. Selvom han måske ikke søgte berømmelsen hos dem, der malede imperiets episke skala, ligger Smirkes historiske betydning i hans rolle som en visuel vogter af den engelske litterære arv. Han forvandlede lærredet til en side i en bog og sikrede, at 1700-tallets digteres romantik ville bestå gennem hans billedspreds vedvarende kraft. Hans liv, der strakte sig fra slutningen af det 18. århundrede til 1845, forbliver et smukt kapitel i den britiske kunsthistorie – en fortælling, der ikke blev fortalt med højlydte proklamationer, men gennem de bløde, evokative hvisken fra en mesterlig historiefortæller.
