Ενημερωμένο Νοέμβριος 2026 · κατάταξη βάσει του σκορ δημοφιλίας μας (αναζητήσεις, επισκέψεις και παραγγελίες για κάθε έργο) · 41 έργα του Έσρα Έμες στον κατάλογό μας
Με σύντομη περιγραφή
Στο μάτι της γκαλερί, το πιο διάσημο έργο του Έσρα Έμες είναι το Philip Van Cortlandt (1810), το πρωτότυπο του οποίου εκτίθεται στο Μετροπολιτικό Μουσείο Τέχνης, Νέα Υόρκη. Ο Joseph Bradley Varnum (1819) και ο Theodore Sedgwick (1808) ολοκληρώνουν το τρίο που κάθε μάτι αναγνωρίζει. Από τα 41 έργα του Έσρα Έμες στον κατάλογό μας, η γκαλερί παρουσιάζει παρακάτω τα 41 πιο διάσημα, όπου κάθε ένα είναι πρωτότυπο, με την χρονολογία του, το μουσείο του και το τι το κάνει μοναδικό.
A single folded document rests against the man's hand, its edge marked by a small red seal. This scrap of paper anchors the composition, suggesting a life bound to legalities and land. Philip Van Cortlandt sits in a three-quarter view, his presence defined by the heavy, dark fabric of a wool coat. The light enters from the upper left, catching the sharp ridge of his nose and the crisp, white…
In this oil on canvas, we encounter Joseph Bradley Varnum through a lens of quiet authority. The portrait, rendered around 1819, presents the subject in a bust-length composition, his body turned slightly to the left while his gaze remains fixed upon us. There is a certain weight to his presence, a gravity that comes from a lifetime of public service and private reflection. The lighting is deliberate, descending from the…
In this formal portrait, we encounter Theodore Sedgwick, a man whose presence commands a quiet, steady respect. The composition is a bust-length study, positioning the subject slightly off-center as he gazes toward the viewer's left, though his eyes remain fixed forward. There is a certain gravity in his expression, a sense of a life lived within the spheres of law and governance. The lighting is deliberate, descending from the upper…
A quiet dignity settles over the oval frame, holding a man caught in a moment of composed stillness. He gazes forward, his expression carrying a hint of a smile that suggests a pleasant, perhaps even witty, demeanor. The portrait is a miniature, a tiny window into a life of standing and substance. He wears the hallmarks of his era: a crisp cravat, a waistcoat adorned with decorative buttons, and the…
In this 1802 portrait, we encounter Goldsborough Banyar Sr., a man whose very posture commands a quiet, settled authority. He is seated in a blue upholstered chair, his presence anchored by the heavy, theatrical weight of a crimson curtain that cascades behind him. To his side, a fluted classical column rises, providing a vertical stability that mirrors the sitter's own composed demeanor. The lighting, arriving softly from the upper left,…
In this portrait of John Scoville, we encounter the quiet dignity of a man from the early nineteenth century. Painted by Ezra Ames about 1810, the work captures the sitter in a moment of composed stillness. Ames, who established himself as a prominent portrait painter in Albany, New York, brings a sense of individual character to the subject through a focused, bust-length composition.
The man sits with a quiet, heavy dignity, his gaze meeting the viewer from a position slightly off-center. He is captured from the waist up, a medium close-up that feels both intimate and deeply respectful. A soft light descends from the upper left, washing over the pale fabric of his white cravat and catching the edge of the paper he holds against his body. This light creates a gentle play…
In this formal portrait, we encounter George Clinton, a man whose presence commands the space through a quiet, Neoclassical dignity. He is presented in a three-quarter length view, his figure positioned with a deliberate stability that suggests both permanence and purpose. The lighting, descending softly from the upper left, carves the contours of his face and the heavy folds of his dark navy coat, creating a sense of tangible weight.…
A formal, three-quarter length portrait from 1810 captures a man of quiet importance. He is positioned slightly off-center, his gaze meeting the observer with a steady, direct presence. The composition relies on a somber, muted palette where deep blacks and dark earthy tones dominate the background, providing a stark contrast to the bright white of his voluminous cravat. This interplay of light and shadow defines the contours of his face…
A man sits in the quiet gravity of 1810. He is Ezra Ames, caught in a moment of stillness against a dark, atmospheric void. The light strikes the right side of his face, carving the contours of a jawline and a high forehead with a steady, singular focus. His eyes, a pale blue, look forward with a composed and serious expression. He wears a dark navy coat and a crisp…
Mrs. Daniel D. Tompkins (Hannah Minthorne, 1781–1829)1809 · New York Historical Society
12
James Rivington Sr. (ca. 1724–1802)1806 · New York Historical Society
13
Myron Holley (1779–1844)1820 · New York Historical Society
14
John Bryan (1765-1849)1815 · New York Historical Society
15
Mrs. Hooper Cumming and Daughter Harriet1818 · New York Historical Society
16
Mrs. John Bryan (Catharine Carmichael, 1773-1854)1815 · New York Historical Society
17
William James (1771-1832)1822 · Μουσεία Τέχνης του Χάρβαρντ
18
Portrait of George Humphrey1819
19
Portrait of Eleanor Humphrey1819
20
Untitled (D2X2EM)1820
21
Mrs. Eleazer Burnham (Caroline Matilda Wood, ca. 1785–1832)1830 · New York Historical Society
22
Eleazer Burnham (1780–1867)1826 · New York Historical Society
23
Clarkson Crolius Sr. (1773–1843)1825 · New York Historical Society
24
Elkanah Watson (1758-1842)1809 · Albany Institute of History - Art
25
Governor John Tayler (1742-1829)1804 · Albany Institute of History - Art
26
Peter Van Vechten Memorial1800 · Albany Institute of History - Art
27
Governor George Clinton (1739-1812)1813 · Albany Institute of History - Art
28
Maria Van Schaick (1782-1865)1808 · Albany Institute of History - Art
29
Edmond Charles Genet (1763-1834)1810 · Albany Institute of History - Art
30
Chancellor James Kent (1763-1847)1812 · Albany Institute of History - Art
31
Harriet Romeyn (Mrs. Spencer) Stafford (1792-1849)1807 · Albany Institute of History - Art
32
Maria Gansevoort Melvill (Mrs. Allan Melvill)1815 · Εθνική Πινακοθήκη Τέχνης
33
Governor DeWitt Clinton (1769-1828)1818 · Albany Institute of History - Art
34
George Washington (1732-1799)1826 · Albany Institute of History - Art
35
Coat of Arms of the City of Albany1825 · Albany Institute of History - Art
36
Governor Enos T. Throop (1784-1874)1833 · Albany Institute of History - Art
37
Spencer Stafford (1772-1844)1807 · Albany Institute of History - Art
38
The Fondey Family1803 · Albany Institute of History - Art
39
Simeon de Witt1804 · Zimmerli Art Museum at Rutgers University
40
Governor Martin Van Buren (1782-1862)1828 · Albany Institute of History - Art
41
Mourning LocketAlbany Institute of History - Art
Τα τέσσερα θέματα που εμφανίζονται πιο συχνά σε αυτά τα πρωτότυπα έργα, το καθένα με το εξαιρετικό του παράδειγμα.
Τα 8 μουσεία που φιλοξενούν το μεγαλύτερο μέρος των έργων σε αυτήν τη σελίδα.
| Μουσείο | Πόλη | Έργα του Έσρα Έμες | Πάτρια από αυτή τη λίστα |
|---|---|---|---|
 Albany Institute of History - Art |
Άλμπανι | 16 | Elkanah Watson (1758-1842), Governor John Tayler (1742-1829), Peter Van Vechten Memorial |
 New York Historical Society |
Νέα Υόρκη | 13 | Goldsborough Banyar Sr. (1724–1815), George Clinton (1739–1812), Henry Jones (1790-?) |
 Μετροπολιτικό Μουσείο Τέχνης |
Νέα Υόρκη | 2 | Philip Van Cortlandt, Portrait of a Gentleman |
 National Portrait Gallery |
Ουάσιγκτον, D.C. | 2 | Joseph Bradley Varnum, Theodore Sedgwick |
 Μουσείο Τέχνης Κλίβελαντ |
Κλίβελαντ | 1 | John Scoville |
 Yale University Art Gallery |
Νέα Χέιβεν | 1 | Judge Matthias Burnet Tallmadge (1774-1819), B.A. 1795 |
 Μουσεία Τέχνης του Χάρβαρντ |
Κέιμπριτζ | 1 | William James (1771-1832) |
 Εθνική Πινακοθήκη Τέχνης |
Ουάσινγκτον | 1 | Maria Gansevoort Melvill (Mrs. Allan Melvill) |
Επιλέξτε μια δεκαετία για να δείτε το πρωτότυπο έργο που την χαρακτηρίζει.
A quiet dignity settles over the oval frame, holding a man caught in a moment of composed stillness. He gazes forward, his expression carrying a hint of a smile that suggests a pleasant, perhaps even witty, demeanor. The portrait is a miniature, a tiny window into a life of standing and substance. He wears the hallmarks of his era: a crisp cravat, a waistcoat adorned with decorative buttons, and the…
In this formal portrait, we encounter Theodore Sedgwick, a man whose presence commands a quiet, steady respect. The composition is a bust-length study, positioning the subject slightly off-center as he gazes toward the viewer's left, though his eyes remain fixed forward. There is a certain gravity in his expression, a sense of a life lived within the spheres of law and governance. The lighting is deliberate, descending from the upper…
A single folded document rests against the man's hand, its edge marked by a small red seal. This scrap of paper anchors the composition, suggesting a life bound to legalities and land. Philip Van Cortlandt sits in a three-quarter view, his presence defined by the heavy, dark fabric of a wool coat. The light enters from the upper left, catching the sharp ridge of his nose and the crisp, white…
In this formal portrait from 1820, we encounter Myron Holley, presented with a quiet, commanding presence. The subject is captured in a bust-length composition, his body turned slightly to the left while his gaze remains fixed upon us, creating an immediate sense of intellectual engagement. There is a certain gravity to his expression, a composed stillness that suggests a man of significant thought and authority. The lighting is handled with…
The portrait presents a bust-length view of Caroline Matilda Wood, known as Mrs. Eleazer Burnham, set against a dark, muted brown background. The subject is positioned slightly off-center, creating a sense of poised stillness. She wears a black dress of heavy, matte fabric that absorbs the light, providing a sharp contrast to the bright white of her lace bonnet and the ruffled collar at her neck. The lace is rendered…
Philip Van Cortlandt (1810), Μετροπολιτικό Μουσείο Τέχνης, Νέα Υόρκη. Στη συνέχεια ακολουθούν το Joseph Bradley Varnum (1819) και το Theodore Sedgwick (1808).
42 ετών: το έργο Philip Van Cortlandt είναι του 1810, και ο/η Έσρα Έμες γεννήθηκε το 1768.
Philip Van Cortlandt, Joseph Bradley Varnum, Theodore Sedgwick, Portrait of a Gentleman, Goldsborough Banyar Sr. (1724–1815), John Scoville, Judge Matthias Burnet Tallmadge (1774-1819), B.A. 1795, George Clinton (1739–1812), Henry Jones (1790-?) και Self-Portrait. Η κατάταξη παραπάνω αναγράφει το έτος και το μουσείο για το κάθε έργο.
Ο κατάλογός μας περιλαμβάνει 41 έργα του Έσρα Έμες, με ημερομηνίες από 1785 έως 1833.
Κυρίως σε Albany Institute of History - Art (Άλμπανι), New York Historical Society (Νέα Υόρκη) και Μετροπολιτικό Μουσείο Τέχνης (Νέα Υόρκη). Ο πίνακας μουσείου παραπάνω τους περιλαμβάνει όλους.
Κατά την περίοδο 1810s: 17 από τα 41 έργα σε αυτήν τη σελίδα δημιουργήθηκαν τότε, με Philip Van Cortlandt από αυτά να είναι μοναδικά.
Σε αυτήν τη σελίδα, το παλαιότερο είναι Portrait of a Gentleman (1785) και το νεότερο Governor Enos T. Throop (1784-1874) (1833).
Man (18), Portrait (13) και White cravat (12), σε συνολικά 41 έργα σε αυτήν τη σελίδα.
Oil On Canvas, για 13 από τα 41 έργα σε αυτήν τη σελίδα.
Neoclassicism, όπως προκύπτει από τα πρωτότυπα σε αυτήν τη σελίδα.
Elkanah Watson (1758-1842), Governor John Tayler (1742-1829) και Peter Van Vechten Memorial: το Albany Institute of History - Art, Άλμπανι διαθέτει 16 από τα έργα σε αυτήν τη σελίδα.
