Artwork dossier
Copyright This work is in the public domain. Thomas Phillips died in 1845; copyright lasts 70 years after the artist’s death, so it ended in 1915.
In context
Michael Faraday — Thomas Phillips
Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 75 at death.
Shaded: the lifetime of Thomas Phillips (1770–1845) every dated painting, decade by decade
First works: up to 1808 Main working years: 1808–1834 Late works: from 1834
Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them
This record has no exact year on file — using the artist's lifetime and the work's style, what decade would you guess?
Pick one work above: name two things it shares with this one, and one thing that's different.
More works to set beside this one: originaluniqueart.com/en/art/similar/thomas-phillips-michael-faraday-9DHM7Z-en/
Measured from the image
Main colour
Quinacridone Magenta #765244
Catalogued palette
These colours inside the artist’s whole palette Find other paintings by colour
The ten leading countries
Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.
Together these works take 50.5% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 288 works by this artist, of which 58 were looked at at least once. This painting has not been looked at yet in that time — it closes the list without a rank. The same counts, month by month
Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.
Artist and museum
Born in Dudley, United Kingdom
Thomas Phillips, born in Dudley, Worcestershire, in 1770, emerged from relatively modest beginnings to become a prominent figure in the British art scene of the late 18th and early 19th centuries. His initial artistic training wasn’t within the traditional confines of painting, but rather in the craft of glass-painting under Francis Eginton in Birmingham. This foundational experience instilled in him a meticulous attention to detail and an understanding of color and light that would later characterize his portraiture. A pivotal moment arrived in 1790 when Phillips journeyed to London, armed with an introduction to Benjamin West, a leading artist of the time and a key figure in the Royal Academy. West’s guidance opened doors for Phillips, securing him employment on the painted-glass windows of St George's Chapel at Windsor Castle – a project that allowed him to hone his skills within a grand architectural context. This early exposure to large-scale decorative work undoubtedly shaped his compositional sensibilities and appreciation for narrative storytelling in art. In 1791, Phillips formally enrolled as a student at the Royal Academy, marking the beginning of his formal artistic education and his integration into the established art world.
Phillips quickly found his niche in portraiture, though not without navigating a competitive landscape already populated by renowned artists like Thomas Lawrence and John Hoppner. Initially, his sitters were largely unknown individuals, but through dedication and skill, he steadily ascended the social ladder, attracting increasingly prominent figures to his studio. His style was characterized by a meticulous realism, reflecting both the influence of his early training in glass-painting and the prevailing artistic tastes of the era. He possessed an ability to capture not just physical likeness, but also something of the sitter’s character and intellect. This talent proved particularly valuable when portraying the “men of genius” – scientists, writers, poets, and explorers – who became a recurring theme in his work.
The year 1804 marked a significant turning point in Phillips’ career with his election as an associate of the Royal Academy, alongside William Owen. This recognition solidified his position within the artistic establishment. Shortly thereafter, he relocated to 8 George Street, Hanover Square, a prestigious address that would remain his home and studio for the next four decades. His clientele continued to expand, encompassing members of the royal family and the aristocracy. He painted portraits of the Prince of Wales (later George IV), the Marchioness of Stafford, and Lord Thurlow, among others. A particularly celebrated portrait from this period is that of William Blake, now housed in the National Portrait Gallery – a work admired for its sensitive depiction of the poet’s intense gaze and visionary spirit. In 1808, Phillips achieved full academician status, presenting his diploma work Venus and Adonis, considered one of his most imaginative compositions, demonstrating a departure from purely portraiture into more ambitious narrative painting.
Phillips’s contributions to the art world extended beyond his own paintings. In 1825, he was appointed Professor of Painting at the Royal Academy, succeeding Henry Fuseli – a position he held until 1832. This role allowed him to share his knowledge and expertise with aspiring artists, shaping the next generation of British painters. He published Lectures on the History and Principles of Painting in 1833, offering insights into his artistic philosophy and pedagogical approach. While his later years saw a slight decline in public acclaim, Phillips remained a respected figure within the art community until his death in 1845. His legacy lies not only in the numerous portraits he created – capturing the likenesses of many notable figures of his time – but also in his dedication to artistic education and his contribution to the development of British portraiture. He left behind a body of work that reflects both the technical skill and the intellectual curiosity of an artist deeply engaged with the cultural landscape of his era. His attention to detail, combined with a sensitivity to character, ensures his place as a significant figure in 19th-century British art.
On show in Stockholm, Sweden
The roots of the Nationalmuseum reach back to the early sixteenth century, beginning with a collection of paintings assembled by King Gustav Vasa at Gripsholm Castle. This foundational gathering of art eventually evolved into the national gallery of fine arts for Sweden. In 1792, the institution was established under the name Kungliga Museet – the Royal Museum. This transition marked a significant shift in how the nation's visual history was preserved and held.
The reach of the institution extends beyond the immediate confines of the Blasieholmen peninsula in Stockholm. Its presence is felt through various satellite collections, including the National Portrait Gallery located at Gripsholm. These various sites ensure that the historical continuity of Swedish art is maintained across different locations. The museum's development reflects a long-standing effort to organize and protect these accumulated treasures for the public.
The present building, which opened in 1866, occupies a prominent position on the Blasieholmen peninsula in Stockholm. Designed by the German architect Friedrich August Stüler, the structure draws inspiration from the Northern Italian Renaissance. Its exterior is characterized by a deliberate restraint in the façade design, which is clad in Swedish limestone. This stone provides a steady, tactile presence to the building's presence in the city. Large glass sections, manufactured in a German factory, allow light to penetrate the interior spaces.
Inside, the architecture unfolds across three floors. While Stüler conceived the external form, the interior design was the responsibility of the Swedish architect Fredrik Wilhelm Scholander. The spatial arrangement was originally intended to house a library, an auditorium, the Royal Armoury, and wardrobe collections. Today, the interior is defined by its scale and the way light interacts with the various levels. A dramatic flight of stairs ascends towards the uppermost galleries, creating a physical movement through the space that mirrors an ascent into contemplation.
The collection encompasses 700,000 objects, spanning from the fourteenth century to the present day. These holdings include paintings, sculptures, and design, forming a broad record of artistic production. Within the galleries, one finds a significant concentration of Old Master drawings, with more than 2,000 sheets originating from the collection of Carl Gustaf Tessin.
Beyond the fine arts, the museum holds an extensive array of applied art and industrial design. These collections feature significant examples of porcelain, glass, and silverware. The presence of these objects allows for a study of how aesthetic ideals have been applied to functional items throughout the centuries.
Midvinterblot, 1915 - Carl Larsson
Kärlekslektionen, 1717 - Jean-Antoine Watteau
Conspiracy of the Bataves, 1661 - Rembrandt van Rijn
The Lady with the Veil, 1768 - Alexander Roslin
The Cook, 1570 - Giuseppe Arcimboldo
The presence of Rembrandt van Rijn within these walls offers a profound encounter with the Dutch Golden Age. His works, including Conspiracy of the Bataves and Simon with Jesus, command the space through a deliberate use of light and shadow. Nearby, the delicate touch of Jean-Baptiste-Siméon Chardin provides a different kind of intensity, focusing on the quietude of domestic life. These paintings exist as physical anchors, drawing the eye toward the textures of fabric and the weight of light upon a surface.
Swedish identity finds its visual expression through the works of Carl Larsson. His canvases, such as Midvinterblot, carry a specific resonance within this national collection. This dialogue between local and international traditions continues through the portraits of Alexander Roslin and the sculptures of Johan Tobias Sergel. The collection also holds the works of Vilhelm Hammershøi, whose compositions invite a stillness that lingers in the viewer's mind long after leaving the room.
The evolution of European painting is further traced through the canvases of Pierre-Auguste Renoir and Gustave Courbet. Whether observing the light in a Renoir or the grounded realism of a Courbet, the collection maintains a continuous thread of artistic development. Each piece remains a distinct entity, inviting a slow, focused observation of form and pigment.
Conspiracy of the Bataves, 1661 - Rembrandt van Rijn
Midvinterblot, 1915 - Carl Larsson
The Lady with the Veil, 1768 - Alexander Roslin
Self-Portrait (The Cellist, 1847 - Gustave Courbet
The Nationalmuseum underwent a significant transformation to ensure its continued functionality for the long term. This extensive project, which concluded in 2018, involved the meticulous dismantling and reassembling of the institution in a more updated version. The work was carried out by the architecture firms Wingårdhs and Wikerstål. Through this process, the building was adapted to meet contemporary standards for accessibility, climate control, fire safety, and personal safety.
The renovation sought to harmonize modern requirements with the existing architectural integrity. Light and acoustics were addressed through the introduction of new glass roof domes over the courtyards, which allow natural light to penetrate the interior while improving the sound environment. These structural updates were accompanied by technical improvements, such as the installation of a small concrete service building at the rear of the site. The result is a space that remains deeply connected to its historical foundations while functioning effectively for the present day.
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For art students and researchers
Michael Faraday — Thomas Phillips
Answer in your own words. There are no wrong answers here — only answers you can explain.
Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.
In "Michael Faraday", a serene contrast is paired with a softly mixed palette harmony.
The color that stands out most in "Michael Faraday" is quinacridone magenta (#765244). The dominant color is useful when matching an artwork to an interior.
An amber to saffron hue runs through "Michael Faraday" by Thomas Phillips.
"Michael Faraday" by Thomas Phillips uses an earthy palette, with quinacridone magenta (#765244) as the dominant color.
The perceived brightness of "Michael Faraday" by Thomas Phillips is deep_shadow. It can be matched to the light of the intended space.