Πορτρέτο του Τόμας Μπιτς

Τα 58 πιο διάσημα έργα του Τόμας Μπιτς, μια επιλογή γκαλερί

Ενημερωμένο Νοέμβριος 2026 · κατάταξη βάσει του σκορ δημοφιλίας μας (αναζητήσεις, επισκέψεις και παραγγελίες για κάθε έργο) · 70 έργα του Τόμας Μπιτς στον κατάλογό μας

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Από όλα τα πρωτότυπα που άφησε ο Τόμας Μπιτς, το πιο διάσημο είναι το Portrait of William Helyar (d.1820), holding a design for the Georgian wing of Coker Court, Somerset (1760). Ακολουθούν στενά η The Hand that Was Not Called (1775) και η Sir Richard Edwards (d. 1794) (1774). Ο κατάλογός μας περιλαμβάνει 70 έργα του Τόμας Μπιτς· η γκαλερί έχει διατηρήσει τα 58 κομμάτια που θαυμάζει ο κόσμος, το καθένα με την ημερομηνία, το μουσείο και την ιστορία του.

1738 – 1806, Ντόρχσεστερ Neoclassicism Περισσότερα έργα: Victoria Art Gallery

Τα 10 κορυφαία έργα του Τόμας Μπιτς: η επιλογή της γκαλερί

1
Portrait of William Helyar (d.1820), holding a design for the Georgian wing of Coker Court, Somerset (1760) του Τόμας Μπιτς

Portrait of William Helyar (d.1820), holding a design for the Georgian wing of Coker Court, Somerset

1760 · Oil On Canvas

This formal 18th-century oil portrait depicts William Helyar in a three-quarter length pose. The gentleman stands against a backdrop featuring heavy drapery and classical architectural elements, including a column. He is shown holding a design for the Georgian wing of Coker Court, Somerset, a detail that serves to symbolize his connection to land and architecture. The composition is a standard eye-level portrait view, creating an intimate yet respectful distance between…

2
The Hand that Was Not Called (1775) του Τόμας Μπιτς

The Hand that Was Not Called

In this 1775 oil painting, titled The Hand that Was Not Called, six men are gathered around a small wooden table in an indoor setting. The composition forms a dense, pyramidal arrangement of figures, creating a sense of social intimacy. The scene captures a moment of calm, focused concentration and gentlemanly camaraderie as the men engage in a game of cards, with hands holding cards and others scattered across the…

3
Sir Richard Edwards (d. 1794) (1774) του Τόμας Μπιτς

Sir Richard Edwards (d. 1794)

1774 · Oil On Canvas · Royal Collection, Λονδίνο

The gaze of Sir Richard Edwards (d. 1794) meets the viewer from within this formal oil portrait. Painted by Thomas Beach, the work captures the subject in a moment of quiet authority. The likeness remains fixed in time, preserving the presence of a man who lived through the shifting social landscapes of the eighteenth century. This portrait exists today as a part of the Royal Collection, held within its prestigious…

4
Francis Woodward (1770) του Τόμας Μπιτς

Francis Woodward

1770 · Oil On Canvas · Victoria Art Gallery, Μπάθ

This oil painting on canvas, executed around 1770, presents a formal portrait of a man identified as Francis Woodward. The subject is depicted from the upper body, positioned slightly off-center with his gaze directed toward the viewer. He is characterized by a pale complexion with subtle rosy cheeks and wears a large white wig typical of the period. His attire consists of a white shirt collar and cuffs paired with…

5
Portrait of a Man (1782) του Τόμας Μπιτς

Portrait of a Man

In Thomas Beach's Portrait of a Man, the subject is captured in a three-quarter view, positioned slightly off-center. This placement creates a subtle tension against the dark, indeterminate background. The composition relies on a strong chiaroscuro effect, where the void behind the man pushes his form forward into the viewer's space. The perspective remains at eye-level, establishing a direct and intimate connection.

6
Portrait of Sarah Siddons (1782) του Τόμας Μπιτς

Portrait of Sarah Siddons

1782 · Oil On Canvas · Auckland Art Gallery Toi o Tāmaki, Οκλάντ

The gaze of the subject meets the observer in this Portrait of Sarah Siddons, a work that captures the presence of the celebrated actress. Thomas Beach, the artist behind this oil on canvas, brings a sense of quiet dignity to the woman who lived from 1755 to 1831. He renders her with a focused attention that suggests a moment of stillness, holding her within the frame of the composition. The…

7
The Honourable Mrs Craven (1776) του Τόμας Μπιτς

The Honourable Mrs Craven

1776 · Oil On Canvas

The subject sits in a quiet, centered stillness. She is an elderly woman, her presence defined by the soft weight of her years and the dignity of her station. Her face, etched with the subtle lines of experience, emerges from a background of minimal depth. Light falls across her features in a diffused glow, casting gentle shadows that trace the contours of her cheeks and the delicate folds of her…

8
Mrs Charles Davis (1781) του Τόμας Μπιτς

Mrs Charles Davis

1781 · Oil On Canvas · Victoria Art Gallery, Μπάθ

In this 1781 portrait, the sitter is presented in a three-quarter pose, her gaze meeting the viewer with a directness that suggests both composure and social standing. She is draped in a golden gown, accented by delicate white lace at the neckline, while a dark shawl rests upon her shoulders. The composition relies on a soft, diffused light that illuminates her features against an indistinct, dark background, focusing all attention…

9
George Hanger, 4th Lord Coleraine (1751-1824) (1787) του Τόμας Μπιτς

George Hanger, 4th Lord Coleraine (1751-1824)

1787 · Oil On Canvas · Royal Collection, Λονδίνο

The portrait presents a gentleman in a three-quarter view, his presence defined by the structured silhouette of a military-style jacket in deep forest green. Light enters from the upper left, carving the contours of his face and casting soft shadows that lend a three-dimensional volume to his features. A crisp white cravat provides a sharp tonal contrast against the dark, heavy wool of his coat, while the large, airy ostrich…

Η επιλογή του Τόμας Μπιτς συνεχίζεται, από τον 11 έως τον 58

11Sir Abraham Isaac Elton (1718–1790), 4th Bt (1790) του Τόμας ΜπιτςSir Abraham Isaac Elton (1718–1790), 4th Bt1790 · National Trust 12Charles Penruddock (c.1742–1788), MP, of Compton Chamberlayne (1788) του Τόμας ΜπιτςCharles Penruddock (c.1742–1788), MP, of Compton Chamberlayne1788 · Εθνική Πινακοθήκη Λονδίνου 13Miss Jenny Davis (1796) του Τόμας ΜπιτςMiss Jenny Davis1796 · Victoria Art Gallery 14Lewis Dimoke Grosvenor Tregonwell (1753–1831), Dorset Yeomanry (1798) του Τόμας ΜπιτςLewis Dimoke Grosvenor Tregonwell (1753–1831), Dorset Yeomanry1798 · Bournemouth Town Hall 15Anne Templer (d.1832), Lady De la Pole (1793) του Τόμας ΜπιτςAnne Templer (d.1832), Lady De la Pole1793 · National Trust 16Portrait of Elizabeth, Lady Craven (Later Margravine of Anspach) του Τόμας ΜπιτςPortrait of Elizabeth, Lady Craven (Later Margravine of Anspach) 17William, Mary Ann, and John De la Pole as Children (Sir William Templer Pole, 1782–1847, 7th Bt, Mary Ann Pole, b.1783, and John George Pole, 1787–1803) (1793) του Τόμας ΜπιτςWilliam, Mary Ann, and John De la Pole as Children (Sir William Templer Pole, 1782–1847, 7th Bt, Mary Ann Pole, b.1783, and John George Pole, 1787–1803)1793 · National Trust 18Portrait of a Gentleman in a Green Robe (1773) του Τόμας ΜπιτςPortrait of a Gentleman in a Green Robe1773 19Miss Elizabeth Phelips, Dressed as Diana (1770) του Τόμας ΜπιτςMiss Elizabeth Phelips, Dressed as Diana1770 · Μάντσεστερ Άρτ Γκάλερι 20Francis Woodward (1721–1785) (1770) του Τόμας ΜπιτςFrancis Woodward (1721–1785)1770 · Victoria Art Gallery 21Portrait of the Children of Charles Blair (1769) του Τόμας ΜπιτςPortrait of the Children of Charles Blair1769 22Portrait of Francis Steward (1743 1798), Mayor of Weymouth and Melcombe Regis του Τόμας ΜπιτςPortrait of Francis Steward (1743 1798), Mayor of Weymouth and Melcombe Regis 23Reverend William Phelips II (1755–1806) (1780) του Τόμας ΜπιτςReverend William Phelips II (1755–1806)1780 · Montacute House 24Edward Phelips VI (1753–1792), MP (1780) του Τόμας ΜπιτςEdward Phelips VI (1753–1792), MP1780 · Montacute House 25Miss Davis as a Bride (1780) του Τόμας ΜπιτςMiss Davis as a Bride1780 · Victoria Art Gallery 26Cornet Edmund Pitts Middleton, 2nd Queen's Dragoon Guards (1778) του Τόμας ΜπιτςCornet Edmund Pitts Middleton, 2nd Queen's Dragoon Guards1778 27Charles Davis (1741–1805) (1784) του Τόμας ΜπιτςCharles Davis (1741–1805)1784 · Victoria Art Gallery 28Portrait of a Gentleman in Georgian Dress (1780) του Τόμας ΜπιτςPortrait of a Gentleman in Georgian Dress1780 · Ludlow Library - Museum Resource Centre 29William 'Memory' Woodfall (1746–1803) (1782) του Τόμας ΜπιτςWilliam 'Memory' Woodfall (1746–1803)1782 30Portrait of a Man (1785) του Τόμας ΜπιτςPortrait of a Man1785 · Dulwich Picture Gallery 31Mrs Charles Davis (1726–1782) (1781) του Τόμας ΜπιτςMrs Charles Davis (1726–1782)1781 · Victoria Art Gallery 32The Honourable Mrs Craven (1776) του Τόμας ΜπιτςThe Honourable Mrs Craven1776 · Walker Art Gallery 33Rebecca Steward (1766–1859) (1783) του Τόμας ΜπιτςRebecca Steward (1766–1859)1783 34Miss Davis as a Bride (1780) του Τόμας ΜπιτςMiss Davis as a Bride1780 · Bath Pump Room 35William Woodfall (1782) του Τόμας ΜπιτςWilliam Woodfall1782 · Εθνική Πορτραίτητος Γκαλερί 36George Pitt (1721–1803), 1st Lord Rivers (1779) του Τόμας ΜπιτςGeorge Pitt (1721–1803), 1st Lord Rivers1779 · The Keep Military Museum 37Maria Craven (1769–1851), Later Countess of Sefton, as a Young Girl (1776) του Τόμας ΜπιτςMaria Craven (1769–1851), Later Countess of Sefton, as a Young Girl1776 · Walker Art Gallery 38Portrait of a Gentleman, Aged 53 (1782) του Τόμας ΜπιτςPortrait of a Gentleman, Aged 531782 · Government Art Collection 39Dr Richard Pulteney (1730–1801), FRS, FLS (1788) του Τόμας ΜπιτςDr Richard Pulteney (1730–1801), FRS, FLS1788 40The Reverend Edward Pole (1758–1836) (1794) του Τόμας ΜπιτςThe Reverend Edward Pole (1758–1836)1794 · National Trust 41Sarah Siddons (1755–1831) (1790) του Τόμας ΜπιτςSarah Siddons (1755–1831)1790 · Llyfrgell Genedlaethol Cymru / The National Library of Wales 42Peter Palmer (Huntsman to Sir John William De la Pole, 6th Bt) (1793) του Τόμας ΜπιτςPeter Palmer (Huntsman to Sir John William De la Pole, 6th Bt)1793 · National Trust 43The Stapleton Family (1789) του Τόμας ΜπιτςThe Stapleton Family1789 · The Holburne Museum 44Sir John William De la Pole (1757–1799), 6th Bt (1794) του Τόμας ΜπιτςSir John William De la Pole (1757–1799), 6th Bt1794 · National Trust 45Portrait of a Girl of the Burnaby Family (1801) του Τόμας ΜπιτςPortrait of a Girl of the Burnaby Family1801 46Mrs Charles Davis, Grandmother of Major C. E. Davis (1796) του Τόμας ΜπιτςMrs Charles Davis, Grandmother of Major C. E. Davis1796 · Victoria Art Gallery 47Miss Jenny Davis (1796) του Τόμας ΜπιτςMiss Jenny Davis1796 · Bath Pump Room 48Thomas Tyndall with Wife and Children (1800) του Τόμας ΜπιτςThomas Tyndall with Wife and Children1800 · Μουσεία Πανεπιστημίου Μπρίστολ 49Mrs Charles Davis, Grandmother of Major C. E. Davis (1796) του Τόμας ΜπιτςMrs Charles Davis, Grandmother of Major C. E. Davis1796 · Bath Pump Room 50Thomas Beach (1802) του Τόμας ΜπιτςThomas Beach1802 · Εθνική Πορτραίτητος Γκαλερί 51John Hungerford Penruddock (1770–1841), MP, DL, of Compton Chamberlayne (1800) του Τόμας ΜπιτςJohn Hungerford Penruddock (1770–1841), MP, DL, of Compton Chamberlayne1800 · Εθνική Πινακοθήκη Λονδίνου 52John Montagu, 4th Earl of Sandwich, PC, FRS του Τόμας ΜπιτςJohn Montagu, 4th Earl of Sandwich, PC, FRSMinistry of Defence 53Henry Hoare of Mitcham Grove, Surrey (1750–1820) του Τόμας ΜπιτςHenry Hoare of Mitcham Grove, Surrey (1750–1820)National Trust 54John Montagu (1718–1792), 4th Earl of Sandwich (after Thomas Gainsborough) του Τόμας ΜπιτςJohn Montagu (1718–1792), 4th Earl of Sandwich (after Thomas Gainsborough)Huntingdon Town Hall 55Portrait of the Children of William Craven, 6th Baron Craven του Τόμας ΜπιτςPortrait of the Children of William Craven, 6th Baron Craven 56Henry Thomas Fox Strangways (1747–1802), 2nd Earl of Ilchester του Τόμας ΜπιτςHenry Thomas Fox Strangways (1747–1802), 2nd Earl of IlchesterLacock Abbey 57Colonel George Worden Baynton (1738–1806) του Τόμας ΜπιτςColonel George Worden Baynton (1738–1806)Royal Welch Fusiliers Regimental Museum 58John Montagu, 4th Earl of Sandwich του Τόμας ΜπιτςJohn Montagu, 4th Earl of Sandwich

Τα διάσημα έργα του Τόμας Μπιτς, ανά περίοδο

Τα θέματα που κίνησαν το ενδιαφέρον του Τόμας Μπιτς

Τα τέσσερα θέματα που εμφανίζονται πιο συχνά σε αυτά τα πρωτότυπα έργα, το καθένα με το εξαιρετικό του παράδειγμα.

Τα μουσεία που διατηρούν τα πρωτότυπα έργα του Τόμας Μπιτς

Τα 8 μουσεία που φιλοξενούν το μεγαλύτερο μέρος των έργων σε αυτήν τη σελίδα.

Μουσείο Πόλη Έργα του Τόμας Μπιτς Πάτρια από αυτή τη λίστα
Victoria Art Gallery, ΜπάθVictoria Art Gallery Μπάθ 8 Francis Woodward, Mrs Charles Davis, Miss Jenny Davis
National Trust, AntonyNational Trust Antony 5 Anne Templer (d.1832), Lady De la Pole, William, Mary Ann, and John De la Pole as Children (Sir William Templer Pole, 1782–1847, 7th Bt, Mary Ann Pole, b.1783, and John George Pole, 1787–1803), The Reverend Edward Pole (1758–1836)
Bath Pump Room, ΜπαθBath Pump Room Μπαθ 3 Miss Davis as a Bride, Miss Jenny Davis, Mrs Charles Davis, Grandmother of Major C. E. Davis
Royal Collection, ΛονδίνοRoyal Collection Λονδίνο 2 Sir Richard Edwards (d. 1794), George Hanger, 4th Lord Coleraine (1751-1824)
Εθνική Πινακοθήκη Λονδίνου, ΓουίλφορντΕθνική Πινακοθήκη Λονδίνου Γουίλφορντ 2 Charles Penruddock (c.1742–1788), MP, of Compton Chamberlayne, John Hungerford Penruddock (1770–1841), MP, DL, of Compton Chamberlayne
Montacute HouseMontacute House 2 Reverend William Phelips II (1755–1806), Edward Phelips VI (1753–1792), MP
Walker Art Gallery, ΛίβερπουλWalker Art Gallery Λίβερπουλ 2 The Honourable Mrs Craven, Maria Craven (1769–1851), Later Countess of Sefton, as a Young Girl
Εθνική Πορτραίτητος Γκαλερί, ΛονδίνοΕθνική Πορτραίτητος Γκαλερί Λονδίνο 2 William Woodfall, Thomas Beach

Ο Τόμας Μπιτς δεκαετία προς δεκαετία: το πρωτότυπο που ορίζει κάθε μία

Έργα ανά δεκαετία

Επιλέξτε μια δεκαετία για να δείτε το πρωτότυπο έργο που την χαρακτηρίζει.

Ερωτήσεις συλλεκτών για τα έργα του Τόμας Μπιτς

Για ποιο έργο είναι πιο γνωστός ο Τόμας Μπιτς;Αποκαλύψτε την απάντηση

Το Portrait of William Helyar (d.1820), holding a design for the Georgian wing of Coker Court, Somerset (1760). Στη συνέχεια ακολουθούν το The Hand that Was Not Called (1775) και το Sir Richard Edwards (d. 1794) (1774).

Πόσο ηλικία είχε ο/η Τόμας Μπιτς όταν δημιουργήθηκε το Portrait of William Helyar (d.1820), holding a design for the Georgian wing of Coker Court, Somerset;Αποκαλύψτε την απάντηση

22 ετών: το έργο Portrait of William Helyar (d.1820), holding a design for the Georgian wing of Coker Court, Somerset είναι του 1760, και ο/η Τόμας Μπιτς γεννήθηκε το 1738.

Ποια είναι τα δέκα πιο διάσημα έργα του Τόμας Μπιτς;Αποκαλύψτε την απάντηση

Portrait of William Helyar (d.1820), holding a design for the Georgian wing of Coker Court, Somerset, The Hand that Was Not Called, Sir Richard Edwards (d. 1794), Francis Woodward, Portrait of a Man, Portrait of Sarah Siddons, The Honourable Mrs Craven, Mrs Charles Davis, George Hanger, 4th Lord Coleraine (1751-1824) και George Damer, Viscount Milton. Η κατάταξη παραπάνω αναγράφει το έτος και το μουσείο για το κάθε έργο.

Πόσα έργα δημιούργησε ο/η Τόμας Μπιτς;Αποκαλύψτε την απάντηση

Ο κατάλογός μας περιλαμβάνει 70 έργα του Τόμας Μπιτς, με ημερομηνίες από 1760 έως 1802.

Σε ποια μουσεία εκτίθενται τα αριστούργημα του Τόμας Μπιτς;Αποκαλύψτε την απάντηση

Κυρίως σε Victoria Art Gallery (Μπάθ), National Trust (Antony) και Bath Pump Room (Μπαθ). Ο πίνακας μουσείου παραπάνω τους περιλαμβάνει όλους.

Σε ποιες χρονιές δημιούργησε ο/η Τόμας Μπιτς τα πιο διάσημα έργα του/της;Αποκαλύψτε την απάντηση

Κατά την περίοδο 1780s: 19 από τα 58 έργα σε αυτήν τη σελίδα δημιουργήθηκαν τότε, με Portrait of a Man από αυτά να είναι μοναδικά.

Ποια είναι τα πρώτα και τα τελευταία διάσημα πρωτότυπα του Τόμας Μπιτς;Αποκαλύψτε την απάντηση

Σε αυτήν τη σελίδα, το παλαιότερο είναι Portrait of William Helyar (d.1820), holding a design for the Georgian wing of Coker Court, Somerset (1760) και το νεότερο Thomas Beach (1802).

Ποια θέματα επέλεξε πιο συχνά ο Τόμας Μπιτς;Αποκαλύψτε την απάντηση

Man (22), Woman (15) και Portrait (14), σε συνολικά 58 έργα σε αυτήν τη σελίδα.

Ποια τεχνική χρησιμοποίησε περισσότερο ο Τόμας Μπιτς;Αποκαλύψτε την απάντηση

Oil On Canvas, για 30 από τα 58 έργα σε αυτήν τη σελίδα.

Σε ποιο καλλιτεχνικό κίνημα ανήκει ο/η Τόμας Μπιτς;Αποκαλύψτε την απάντηση

Neoclassicism, όπως προκύπτει από τα πρωτότυπα σε αυτήν τη σελίδα.

Ποια έργα του Τόμας Μπιτς εκτίθενται στο Victoria Art Gallery;Αποκαλύψτε την απάντηση

Francis Woodward, Mrs Charles Davis και Miss Jenny Davis: το Victoria Art Gallery, Μπάθ διαθέτει 8 από τα έργα σε αυτήν τη σελίδα.

Τόμας Μπιτς: ζωή και έργο

A Legacy of Quiet Elegance: The Life and Art of Thomas Beach

In the grand, sweeping narrative of British portraiture, certain names command the spotlight with theatrical brilliance, while others whisper with a more profound, understated grace. Thomas Beach (1738–1806) belongs to that second, more intimate category. A painter whose brush captured the very essence of the Regency era's dignity, Beach navigated an artistic landscape dominated by giants, yet he carved out a niche defined by a distinctive sensitivity and a melancholic beauty that remains deeply moving to the modern eye.

Born in the vibrant, culturally ascending city of Bath around 1738, Beach’s early years were steeped in an environment of burgeoning social prestige. While much of his personal history remains shrouded in the mists of the eighteenth century, his artistic lineage is clearly traced to one of the most formidable figures in art history: Sir Joshua Reynolds. It is believed that Beach received his foundational training at Chiswick House under Reynolds’s direct tutelage. This apprenticeship was more than mere technical instruction; it was an immersion into a philosophy of painting that prioritized classical composition, tonal gradation, and the pursuit of psychological depth. From Reynolds, Beach inherited the ability to render not just a likeness, but a soul, though he would eventually diverge from his master's penchant for the dramatic in favor of a more subdued, reflective elegance.

The Bath Years: Mastery and Influence

As Beach’s career matured during the 1760s and 1770s, he became a fixture of the Bath art scene, a period where his reputation as a premier portraitist solidified among the city's aristocratic and intellectual circles. His work from this era serves as a beautiful synthesis of the Reynoldsian style—characterized by precise facial rendering and masterful use of light—tempered by Beach’s own unique emotional palette. Where Reynolds might employ grand gestures and sweeping landscapes to elevate his subjects, Beach often leaned into a subtle, quiet grace, using soft shading and thoughtful compositions to evoke a sense of introspective calm.

His ability to capture the character of his sitters led to prestigious commissions that placed him at the heart of British cultural life. Among his most notable achievements was his portraiture of Sarah Siddons, the legendary actress whose presence on the stage was as commanding as Beach’s brushwork was delicate. Through these portraits, Beach did more than document the faces of the era; he captured the very atmosphere of a society caught between the Enlightenment and the Romantic movement.

Artistic Significance and Enduring Impression

The historical significance of Thomas Beach lies in his role as a bridge between the grandiosity of the mid-eighteenth century and the more nuanced, emotive portraiture that would follow. While he may not have sought the fame of the more flamboyant masters, his contribution to the British school of painting is undeniable. His works are characterized by several enduring elements:

  • Psychological Insight: A profound ability to convey the inner temperament and quiet dignity of his subjects through subtle facial expressions.
  • Tonal Mastery: The use of light and shadow to create a sense of atmosphere that feels both timeless and intimate.
  • Refined Composition: A commitment to classical principles that provides a structured, balanced beauty to every canvas.

Today, the works of Thomas Beach offer a window into a lost world of refinement. To view a Beach portrait is to experience a moment of stillness amidst the historical noise, finding beauty in the soft shadows and the quiet, enduring strength of his subjects. He remains a vital figure for any student of British art, reminding us that true greatness often resides not in the loudest voice, but in the most thoughtful stroke.