Die 47 berühmtesten Gemälde von Gilbert Stuart Newton, eine Galerie-Auswahl

James Monroe

Den Blick auf dieses Porträt von James Monroe zu richten, bedeutet, nicht nur einer Ähnlichkeit zu begegnen, sondern einer Verkörperung der frühen amerikanischen politischen Gravitas. Gilbert Stuart Newton fing den fünften Präsidenten der Vereinigten Staaten in einem Moment ein, der sich zugleich zutiefst persönlich und monumental öffentlich anfühlt. Die Komposition selbst spricht Bände über die Ehrfurcht jener Ära vor ihren Anführern; es ist ein sorgfältig konstruiertes Tableau, das darauf ausgelegt…

Captain Macheath von Polly und Lucy in der 'Elendsoper' zurechtgewiesen, 1826

Das Ölgemälde auf Leinwand mit dem Titel „Captain Macheath von Polly und Lucy in der 'Elendsoper' zurechtgewiesen, 1826“ fängt einen Moment scharfer Reibung ein. Gilbert Stuart Newton schuf diese Szene im Jahr 1826. Das Werk hat die Maße 96,5 x 120,7 cm (38 x 47 1/2 Zoll) und trägt in der unteren linken Ecke eine Inschrift: „[???] | PRAYER“.

Shylock und Jessica aus dem 'Venedig, Kaufmann', II, ii

Die Szene entfaltet sich in "Shylock und Jessica aus dem 'Venedig, Kaufmann', II, ii", einem Werk, das einen schweren, privaten Moment zwischen einem Vater und seiner Tochter einfängt. Gemalt von Gilbert Stuart Newton im Jahr 1830, erweckt das Ölgemälde auf Leinwand eine ganz spezifische Spannung zum Leben, die aus der dramatischen Welt von William Shakespeare schöpft. Die Gestalten von Shylock und Jessica treten aus den Schatten eines häuslichen Interieurs hervor,…

Ann Barry

This oil on canvas portrait, titled Ann Barry, was executed by the artist Gilbert Stuart Newton. The work dates to about 1805. It depicts a young woman in a half-length composition, positioned as the primary subject within the frame. The sitter is shown seated, directing her gaze toward the viewer from a shallow perspective.

Samuel Alleyne Otis

The man sits before us, his presence filling the space with a quiet, heavy dignity. He is an elderly figure, his face a map of lived experience, etched with deep lines and wrinkles that catch the light. The darkness behind him pushes his features forward, creating a sense of immediate, physical closeness. Every fold of his coat and every texture of his skin feels tangible, as if the air around…

Commodore Isaac Hull

Gilbert Stuart Newton painted Commodore Isaac Hull in 1813. The portrait captures the naval officer in his formal uniform, presenting a dignified likeness of the historical figure. The subject is rendered with a focus on the details of his military attire, including the distinct textures of his coat and the insignia of his rank.

Self Portrait

Gilbert Stuart Newton's Self Portrait, executed about 1818, presents a direct study of the artist himself. The work functions as a formal record of the painter during his early years of professional development, capturing a specific moment of personal and artistic identity.

Thomas Palmer (1743-1820)

The year is 1819. This oil on canvas captures a moment of quiet authority before the subject's passing. The composition is slightly off-center, creating a natural, unforced balance. There is a sense of gravity in the way the light catches the white of his shirt, a singular bright point in a world of muted tones. The man exists in a space of shadow and memory. A single, steady breath.

Samuel Appleton (1766-1853)

In this 1818 oil portrait, we encounter Samuel Appleton, a man whose presence commands a quiet, settled authority. He is presented in a three-quarter length view, seated with a composure that suggests a life of significant social standing and stability. The lighting, arriving softly from the upper left, carves his features out of the shadows, illuminating the crisp white of his cravat and the steady gaze he directs toward the…

Stephen Higginson (1770-1834)