Ενημερωμένο Νοέμβριος 2026 · κατάταξη βάσει του σκορ δημοφιλίας μας (αναζητήσεις, επισκέψεις και παραγγελίες για κάθε έργο) · 32 έργα του John Neagle στον κατάλογό μας
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Από όλα τα πρωτότυπα έργα που άφησε ο John Neagle, το πιο διάσημο είναι το Junius Brutus Booth as Sir Edward Mortimer (1823), το οποίο βρίσκεται στη συλλογή του National Portrait Gallery, Ουάσιγκτον, D.C.. Ακολουθούν στενά η Portrait of a Man (1845) και η Portrait of Henry Clay (1842). Ο κατάλογός μας περιλαμβάνει 32 έργα του John Neagle· η γκαλερί έχει διατηρήσει τα 32 κομμάτια που θαυμάζει ο κόσμος, το καθένα με την ημερομηνία, το μουσείο και την ιστορία του.
A single, piercing gaze cuts through the gloom. Junius Brutus Booth, caught in the heavy mantle of Sir Edward Mortimer, stares from the canvas with a brow furrowed by internal conflict. The light clings to the stark white of a ruffled collar, a bright island in a sea of deep blues and earthy browns. This is not a quiet moment. It is the tension of a character suspended between thought…
This 1845 oil on canvas presents a three-quarter length portrait of a man, rendered with the disciplined precision of the American academic style. The subject is positioned slightly off-center, his gaze directed toward the viewer's left, projecting a sense of composed dignity. A dramatic chiaroscuro effect defines the composition, where a strong light source illuminates the contours of the face, neck, and hand, leaving the remainder of the figure to…
The Portrait of Henry Clay is an oil on canvas painted by John Neagle in 1842. This work captures the likeness of Henry Clay, who lived from 1777 to 1852. The image was commissioned by the National Clay Club of Philadelphia to honor its patron. Neagle, a prominent figure in the American portrait tradition, rendered the subject with a focus on the individual's presence.
This portrait of George Peabody, painted by John Neagle, offers a quiet encounter with a man of significant influence. Created in 1822, the work captures Peabody during a formative period of his life. He was a prominent American financier and philanthropist, a man whose legacy would eventually extend far beyond the financial circles of his era. In this depiction, we see the individual behind the substantial charitable contributions that would…
A single point of white light breaks the darkness of the canvas. It is the crisp, starched edge of a clerical collar, a sharp horizontal line that separates the face from the heavy shadows of the torso. Reverend Gregory Townsend Bedell meets the viewer's gaze with a steady, unblinking directness. His eyes hold the quiet gravity of a man accustomed to the weight of spiritual counsel. The light falls from…
The Portrait of Gilbert Stuart is an oil painting created by the American artist John Neagle. This work depicts the subject, who was also a painter named Gilbert Stuart. The portrait captures the likeness of the sitter in a bust-length composition, focusing on the head and shoulders of the man.
In this 1829 portrait, we find ourselves in the presence of William Strickland, a man whose very posture suggests the precision of his craft. He is captured in a three-quarter view, seated amidst the tools of his intellect. A drawing board rests before him, and his hands hold the implements of an architect, grounding the subject in his professional identity. The composition is deliberate, using a slightly low-angle perspective to…
In the dim, heat-heavy air of the workshop, John Neagle captures a moment of intense labor in 1829. This oil on canvas presents a full length portrait of Mr. Patrick Lyon, a man whose life is defined by the rhythmic strike of metal against metal. He stands at his anvil, a Scottish-born American blacksmith, mechanic, and inventor, caught in the midst of his craft. The scene is not one of…
John Neagle painted this portrait of Gilbert Stuart in 1825. At this time, Neagle was a prominent figure in Philadelphia, where he established a studio that attracted the era's political and intellectual elite. The sitter, Stuart, was a significant figure in early American portraiture, and Neagle’s depiction captures him during the final years of his life.
In this work, Pat Lyon at the Forge, the artist John Neagle captures a moment of intense industry. The painting depicts Patrick Lyon, a man who moved from his native Scotland to become a prominent blacksmith, mechanic, and inventor in America. Lyon was a self-made businessman who earned a reputation as a working class hero. The portrait was commissioned by Lyon himself on November 4, 1825, reflecting a desire to…
John Kintzing Kane1828
12
Portrait of a Lady1830 · Εθνική Πινακοθήκη Τέχνης
13
Thomas W. Dyott1836 · Εθνική Πινακοθήκη Τέχνης
14
Portrait of a man in coat1840
15
Portrait of a Gentleman1845
16
Martin Luther Hurlbut1840 · Μουσείο Τέχνης Κλίβελαντ
17
Henry Clay1842 · National Portrait Gallery
18
Study for Portrait of Dr. Friedlander1841
19
George Dodd1852 · Εθνική Πινακοθήκη Τέχνης
20
Julia Dodd (Mrs. George Dodd)1852 · Εθνική Πινακοθήκη Τέχνης
21
Joseph Clay Neal1837 · National Portrait Gallery
22
Anna Gibbon Johnson1828 · Pennsylvania Academy of Fine Arts
23
The Reverend John Albert Ryan1829 · Εθνική Πινακοθήκη Τέχνης
24
John Haviland1828 · Μετροπολιτικό Μουσείο Τέχνης
25
Henry Bedelman Bascom1826 · Transylvania University
26
Amy Taylor Dickson (Mrs. John Dickson)1835 · Εθνική Πινακοθήκη Τέχνης
27
Colonel Augustus James Pleasonton1846 · Εθνική Πινακοθήκη Τέχνης
28
Richard Mentor Johnson1843 · Εθνική Πινακοθήκη Τέχνης
29
Reverend Samuel Brown Wiley1847 · Μετροπολιτικό Μουσείο Τέχνης
30
John Walsh1840 · Μετροπολιτικό Μουσείο Τέχνης
31
Elias G. DrakeNew York Historical Society
32
Portrait of a Young Girl
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 John Neagle | Πάτρια από αυτή τη λίστα |
|---|---|---|---|
 Εθνική Πινακοθήκη Τέχνης |
Ουάσινγκτον | 8 | Portrait of a Lady, Thomas W. Dyott, George Dodd |
 National Portrait Gallery |
Ουάσιγκτον, D.C. | 4 | Junius Brutus Booth as Sir Edward Mortimer, Portrait of Henry Clay, Henry Clay |
 Μουσείο Τέχνης Βοστώνης |
Μπόσττον | 3 | George Peabody, Gilbert Stuart, Pat Lyon at the Forge |
 Μετροπολιτικό Μουσείο Τέχνης |
Νέα Υόρκη | 3 | John Haviland, Reverend Samuel Brown Wiley, John Walsh |
 Pennsylvania Academy of Fine Arts |
Φιλαδέλφεια | 2 | Pat Lyon at the Forge, Anna Gibbon Johnson |
 Brooklyn Museum |
Μπρούκλιν | 1 | Portrait of a Man |
 Detroit Institute of Arts |
Ντιτρόιτ | 1 | Reverend Gregory Townsend Bedell |
 Rhode Island School of Design Museum of Art |
Providence | 1 | Portrait of Gilbert Stuart |
Επιλέξτε μια δεκαετία για να δείτε το πρωτότυπο έργο που την χαρακτηρίζει.
A single, piercing gaze cuts through the gloom. Junius Brutus Booth, caught in the heavy mantle of Sir Edward Mortimer, stares from the canvas with a brow furrowed by internal conflict. The light clings to the stark white of a ruffled collar, a bright island in a sea of deep blues and earthy browns. This is not a quiet moment. It is the tension of a character suspended between thought…
A single point of white light breaks the darkness of the canvas. It is the crisp, starched edge of a clerical collar, a sharp horizontal line that separates the face from the heavy shadows of the torso. Reverend Gregory Townsend Bedell meets the viewer's gaze with a steady, unblinking directness. His eyes hold the quiet gravity of a man accustomed to the weight of spiritual counsel. The light falls from…
This 1845 oil on canvas presents a three-quarter length portrait of a man, rendered with the disciplined precision of the American academic style. The subject is positioned slightly off-center, his gaze directed toward the viewer's left, projecting a sense of composed dignity. A dramatic chiaroscuro effect defines the composition, where a strong light source illuminates the contours of the face, neck, and hand, leaving the remainder of the figure to…
In this formal portrait, John Neagle captures George Dodd in a moment of quiet, steady presence. Painted about 1852, the work presents the gentleman in a three-quarter view. He sits against a dark, indistinct background where hints of foliage and drapery emerge from the shadows. The subject's gaze is fixed directly upon the viewer, meeting the eye with a sense of composed intelligence.
Junius Brutus Booth as Sir Edward Mortimer (1823), National Portrait Gallery, Ουάσιγκτον, D.C.. Στη συνέχεια ακολουθούν το Portrait of a Man (1845) και το Portrait of Henry Clay (1842).
27 ετών: το έργο Junius Brutus Booth as Sir Edward Mortimer είναι του 1823, και ο/η John Neagle γεννήθηκε το 1796.
Junius Brutus Booth as Sir Edward Mortimer, Portrait of a Man, Portrait of Henry Clay, George Peabody, Reverend Gregory Townsend Bedell, Portrait of Gilbert Stuart, William Strickland (1787-1854), Pat Lyon at the Forge, Gilbert Stuart και Pat Lyon at the Forge. Η κατάταξη παραπάνω αναγράφει το έτος και το μουσείο για το κάθε έργο.
Ο κατάλογός μας περιλαμβάνει 32 έργα του John Neagle, με ημερομηνίες από 1822 έως 1852.
Κυρίως σε Εθνική Πινακοθήκη Τέχνης (Ουάσινγκτον), National Portrait Gallery (Ουάσιγκτον, D.C.) και Μουσείο Τέχνης Βοστώνης (Μπόσττον). Ο πίνακας μουσείου παραπάνω τους περιλαμβάνει όλους.
Κατά την περίοδο 1820s: 12 από τα 32 έργα σε αυτήν τη σελίδα δημιουργήθηκαν τότε, με Junius Brutus Booth as Sir Edward Mortimer από αυτά να είναι μοναδικά.
Σε αυτήν τη σελίδα, το παλαιότερο είναι George Peabody (1822) και το νεότερο George Dodd (1852).
Man (19), Dark background (10) και Portrait (8), σε συνολικά 32 έργα σε αυτήν τη σελίδα.
Oil On Canvas, για 20 από τα 32 έργα σε αυτήν τη σελίδα.
Romanticism, όπως προκύπτει από τα πρωτότυπα σε αυτήν τη σελίδα.
Portrait of a Lady, Thomas W. Dyott και George Dodd: το Εθνική Πινακοθήκη Τέχνης, Ουάσινγκτον διαθέτει 8 από τα έργα σε αυτήν τη σελίδα.
In the vibrant landscape of nineteenth-century American art, few names resonated with as much fashionable prestige as John Neagle. A painter whose brush captured the very essence of a developing nation, Neagle emerged as a prominent figure in Philadelphia, a city that served as the beating heart of his creative life. His journey began in Boston, but it was through an early apprenticeship to Thomas Wilson—a skilled painter of signs and coaches—that his path toward fine art was paved. This formative period, though rooted in the practical craft of decorative painting, provided him with the technical foundation that would later allow him to master the complexities of light and human expression.
Neagle’s artistic evolution was deeply shaped by the masters who crossed his path. Through Wilson, he was introduced to Bass Otis and the celebrated Thomas Sully, the latter becoming a pivotal influence and even a future relative by marriage. Under their guidance, Neagle moved beyond the utilitarian world of coach painting to embrace the sophisticated realm of portraiture. His style, characterized by an incisive attention to psychology and a dazzling brushwork reminiscent of van Dyck and Sir Thomas Lawrence, allowed him to breathe life into his subjects, transforming mere likenesses into profound studies of character.
While Neagle’s career took him on brief sojourns to Lexington, Kentucky, and New Orleans, Louisiana, it was in Philadelphia where he truly established his dominion. By 1818, he had committed himself exclusively to the art of the portrait, setting up a studio that would attract the most notable figures of the era. His work was not merely about capturing a face; it was about documenting the soul of American society. His sitters ranged from the political elite and merchants to intellectuals and professionals, all rendered with a realism that balanced elegance with an unmistakable truth.
Among his most enduring contributions to the American canon is the strikingly unconventional Pat Lyon at the Forge. In this work, Neagle departed from the traditional, polished manner of portraiture to present a heroic, almost brutal depiction of a blacksmith. This masterpiece, which reached a wide audience through engraving, showcased his ability to blend the grand style with a raw, narrative power. His repertoire also included monumental works such as the Portrait of Henry Clay and portraits of figures like James Fenimore Cooper and the Marquis de Lafayette, cementing his status as a chronicler of American greatness.
Beyond the canvas, Neagle was a pillar of the artistic community. His commitment to the advancement of art in America was evidenced by his service as a Director of the Pennsylvania Academy of the Fine Arts and his role as a founder and president of the Artist's Fund Society of Philadelphia. These leadership roles reflected a man deeply invested in the institutional growth of his craft.
The significance of John Neagle lies in his ability to marry the grace of Romanticism with a rigorous, observant realism. His portraits remain vital windows into the nineteenth century, offering more than just historical documentation; they offer an emotional connection to the people who shaped the American identity. Through his masterful use of light and his profound understanding of human psychology, Neagle ensured that the faces of his era would endure long after the era itself had passed.
