Las 47 pinturas más famosas de Gilbert Stuart Newton, una selección de la galería

James Monroe

Contemplar este retrato de James Monroe es encontrarse no solo con un parecido físico, sino con la encarnación misma de la gravedad política de los inicios de Estados Unidos. Gilbert Stuart Newton capturó al quinto presidente de los Estados Unidos en un momento que se siente tanto intensamente personal como monumentalmente público. La composición misma dice mucho sobre la reverencia de la época hacia sus líderes; es un cuadro cuidadosamente…

El capitán Macheath reprendido por Polly y Lucy en 'La ópera de los mendigos', 1826

El óleo sobre lienzo titulado "El capitán Macheath reprendido por Polly y Lucy en 'La ópera de los mendigos', 1826", captura un instante de intensa fricción. Gilbert Stuart Newton plasmó esta escena en 1826. La obra posee unas dimensiones de 38 x 47 1/2 pulgadas (96.5 x 120.7 cm) y porta una inscripción en la esquina inferior izquierda: "[???] | PRAYER".

Shylock y Jessica de 'El mercader de Venecia', II, ii

La escena se desarrolla en Shylock y Jessica de 'El mercader de Venecia', II, ii, una obra que captura un momento denso y privado entre un padre y su hija. Pintado por Gilbert Stuart Newton en 1830, el óleo sobre lienzo da vida a una tensión específica extraída del mundo dramático de William Shakespeare. Las figuras de Shylock y Jessica emergen de las sombras de un interior doméstico, atrapadas en…

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)