Uuendatud november 2026 · järjestatud meie populaarsusindeksi järgi (otsingud, külastused ja tellimused igale teosele) · 18 teost James Henry Beard meie kataloogis
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Kõigist James Henry Beard jäetud originaalteostest on kõige kuulsam Lyman Beecher (1842), mis kuulub National Portrait Gallery kogele linnas Washington, D.C.. Järgnevad sellest Portrait (1859) ja North Carolina Emigrants, Poor White Folk (1845). Meie kataloogist löytyb 18 teost kunstnikult James Henry Beard; galeriist on säilitatud 17 maailmas kõige imetlustunud teost, millest iga on esitatud koos kuupäeva, museumi ja oma luguga.
In this 1842 oil portrait, James Henry Beard captures the presence of Lyman Beecher. The sitter meets the viewer's gaze with a quiet, heavy dignity that speaks of a life lived with significant purpose. Every brushstroke works to anchor the man within his era, presenting a figure of gravity and social standing. He sits poised, his expression carrying the weight of wisdom and the stillness of a man accustomed to…
James Henry Beard executed this oil on canvas in 1859. The work, titled Portrait, represents a significant example of the artist's specialized focus on portraiture during the mid-19th century. Beard, an American painter born in Buffalo, United States, established a reputation for capturing the character of his subjects through precise likeness and formal composition.
In this 1845 oil on canvas, a small group of settlers moves through a rural landscape. The composition centers on a man, two women, and a child positioned near a wooden trough and a horse. The figures are rendered with fine brushwork that captures the specific textures of worn fabric and skin. A sense of depth is established through atmospheric perspective, guiding the eye from the subjects on the right…
A young man sits in quiet introspection, his chin resting heavily upon folded hands atop a weathered wooden post. He is dressed in a dark brown jacket and a red neckercloth, topped by a large, floppy brown cap. At his side, a small wooden cage containing blue fabric rests near the edge of the frame. The composition is vertical, centering the subject against a turbulent, cloudy sky of muted blues…
The gaze of Lyman Beecher meets the viewer from within this 1842 oil portrait. James Henry Beard captures the man not merely as a likeness, but as a presence defined by his historical weight. The subject, a prominent American Presbyterian minister and abolitionist, sits with a quiet, heavy dignity that suggests a life of significant purpose and moral conviction. Every line on his face speaks to the gravity of his…
Moving Further Westward was painted by James Henry Beard about 1840. An American painter, Beard was born in Buffalo, United States, in 1812. He remained active in the United States throughout his career until his death in 1893 in Flushing, Queens, New York.
A formal mid-19th-century oil portrait, this bust-length study captures an elderly man in a moment of quiet composure. The subject faces toward the viewer's left, though his gaze meets the observer directly, establishing an immediate sense of intellectual presence. He is rendered with a classical realist sensibility, characterized by a somber palette of deep blacks, creamy whites, and earthy sepia tones. The lighting, descending from the upper left, carves the…
The gaze of a middle-aged man meets the viewer in this formal oil portrait, titled John Davies Jones. Painted by James Henry Beard, the work captures a moment of quiet dignity. The subject sits poised, his presence filling the space with a sense of scholarly weight. He carries the air of a man settled in his years, his expression steady and composed.
This 1870 oil portrait presents a bust-length depiction of an elderly man named Peter Gibson. The subject is positioned slightly off-center, facing toward the viewer's left while his gaze remains directed forward. He is rendered with a calm expression that suggests stability and solemnity. The composition utilizes a dark, indistinct, and atmospheric void as a background, which directs all visual attention toward the subject's face and torso. A sharp contrast…
In this bust-length portrait, James Henry Beard positions Martha Gibson centrally against a dark, indistinct background. The subject occupies the middle of the frame, emerging from a murky, charcoal-toned space that offers no distraction from her presence. A muted color palette dominates the scene, relying on deep blacks and somber, olive shadows to define the space. The light enters from the upper left, casting soft, directional shadows across the right…
John Rogers III (1866-1939)1870 · New York Historical Society
12
Studio to Let1864 · Herbert F. Johnson Museum of Art
13
DeWitt McClellan Lockman (1870-1957)1879 · New York Historical Society
14
William Henry Harrison1840 · National Portrait Gallery
15
THE LAST VICTIM OF THE DELUGE1849 · Cincinnati Art Museum
16
It Is Very Queer, Isn't ItCrystal Bridges Museum of American Art
17
Lion and Lioness1867
Neli teemat, mis esinevad neis originaalkindel kõige sagedamini, ning iga teema parim näide.
Kümne 8 muuseumi kollektsioonid, mis sisaldavad kõige rohkem sellel lehel esitatud teoseid.
| Muuseumid | Linn | James Henry Beard teosid | Selle nimekirja maalid |
|---|---|---|---|
 Cincinnati Art Museum |
Cincinnati | 3 | North Carolina Emigrants, Poor White Folk, Moving Further Westward, THE LAST VICTIM OF THE DELUGE |
 New York Historical Society |
New York City | 3 | Gerard Hallock (1800–1866), John Rogers III (1866-1939), DeWitt McClellan Lockman (1870-1957) |
 Cincinnati Museum Center at Union Terminal |
Cincinnati | 3 | John Davies Jones, Peter Gibson, Martha Gibson |
 National Portrait Gallery |
Washington, D.C. | 2 | Lyman Beecher, William Henry Harrison |
 Los Angeles County Museum of Art |
Los Angeles | 1 | Portrait |
 Museum of Fine Arts |
Houston | 1 | The Young Itinerant |
 Museum of Fine Arts |
Boston | 1 | Lyman Beecher |
 Herbert F. Johnson Museum of Art |
Ithaca | 1 | Studio to Let |
Vali vuosakülg, et näha selle ajastu definieerivat originaalteost.
In this 1842 oil portrait, James Henry Beard captures the presence of Lyman Beecher. The sitter meets the viewer's gaze with a quiet, heavy dignity that speaks of a life lived with significant purpose. Every brushstroke works to anchor the man within his era, presenting a figure of gravity and social standing. He sits poised, his expression carrying the weight of wisdom and the stillness of a man accustomed to…
James Henry Beard executed this oil on canvas in 1859. The work, titled Portrait, represents a significant example of the artist's specialized focus on portraiture during the mid-19th century. Beard, an American painter born in Buffalo, United States, established a reputation for capturing the character of his subjects through precise likeness and formal composition.
In the quiet, transitional space of Studio to Let, a solitary man moves through a moment of change. Painted by James Henry Beard about 1864, the scene captures a figure who appears to be an artist in the midst of a relocation. He ascends a set of wooden stairs, his presence marked by the heavy belongings he carries, including a large rectangular case and a wooden palette. The weight of…
This 1870 oil portrait presents a bust-length depiction of an elderly man named Peter Gibson. The subject is positioned slightly off-center, facing toward the viewer's left while his gaze remains directed forward. He is rendered with a calm expression that suggests stability and solemnity. The composition utilizes a dark, indistinct, and atmospheric void as a background, which directs all visual attention toward the subject's face and torso. A sharp contrast…
Lyman Beecher (1842), National Portrait Gallery, Washington, D.C.. Järgnevad Portrait (1859) ja North Carolina Emigrants, Poor White Folk (1845).
30 aastat vanus: teos Lyman Beecher on pärinev aastast 1842 ning James Henry Beard sündis aastal 1812.
Lyman Beecher, Portrait, North Carolina Emigrants, Poor White Folk, The Young Itinerant, Lyman Beecher, Moving Further Westward, Gerard Hallock (1800–1866), John Davies Jones, Peter Gibson ja Martha Gibson. Ülemine reiting näitab iga teose puhul aastat ja muuseumi.
Meie kataloogist leiate 18 teost kunstnikult James Henry Beard, mis on pärinevad ajastust 1840 kuni 1879.
Peamiselt Cincinnati Art Museum (Cincinnati), New York Historical Society (New York City) ja Cincinnati Museum Center at Union Terminal (Cincinnati) muuseumites. Ülalpool olevate muuseumite tabelis on nendest kõik loetletud.
Ajal 1840s: 8 17 sellel lehel olevat teost on sellel perioodil loodud, მათart közül Lyman Beecher.
Sellel lehel on kõige vanem teos Lyman Beecher (1840) ja kõige värskeim DeWitt McClellan Lockman (1870-1957) (1879).
Man (9), Portrait (6) ja White collar (5), kogu selle lehekülje 17 teose kohta.
Oil On Canvas, 8 teoseks 17 töödelt sellel lehel.
North Carolina Emigrants, Poor White Folk, Moving Further Westward ja THE LAST VICTIM OF THE DELUGE: Cincinnati Art Museum, Cincinnati säilitab 3 selle lehel olevat teost.
James Henry Beard (22. aprill 1812 – 1893) oli Ameerika kunstnik, kelle pühendumus portreemalingu sügavates uurimiseses leidis oma täieliku väljenduse. Tema kunstiline mittestatus sai alguse silmapaistvate avalike inimeste väärikast esitlusest, kuid aja jooksul avanes tema loovus ka sügavama ja lummava vaatamistamele, mida peegeldasid tema südamlikud ja elavad koduste loomade portreid.
Sündides Buffalos, New York, olid Beard'i juured inglise ja skotsi immigrantide peres. Tema kunstiline meelelahutus ja eelistused ilmusid juba varajastu, õitstes kiiresti pärast tema pere kolonist püsimist Ohio'sse. Just seal, uues keskkonnas, alusid ta tõsiselt oma kunstiliste oskuste teravdamise teele. Ta õppis Jarvis Frary Hanks käes Painesville'is, Ohio's, saades alustavuse ja harjutuse, mis määrkas tema tulevase karjääri suunad.
James Henry Beard’s alguses eksperimenteeris mitmete maaliatehnikatega, sealhul akvarelliga, akrüüliga ja pastelliga, enne kui ta leidis oma peamise žanri – portreemalid. Tema varajased portreed kujistasid sageli nüansikasid ja vääri inimesi, nagu Henry Clay ja John Quincy Adams. Ta demonstreeris erakordset oskust, mis võimaldas temal tabada mitte ainult oma subjekti välimust, vaid ka nende sügavaid omadusi ja isiklikku tähendust.
1846. aastal, 32. aasta vanuses, otsis Beard oma loomingut suuremat tuntmist New York linnas, pöördudes tagasi pealinna suunas, et leida oma kunstile uusi silmad ja võimalusi. Tema püüdeldus ei jäänud tühjaks, sest aastal 1848 pärdi ta ennast suurepärase tunnustusega, kui ta jägi sisse prestiižsese National Academy of Design institutsiooni. Keskilma jõududes, aastal 1870, oli ta juba kindlustanud New York oma püsiva koduna, kus tema kunstiline pärisolu ja loovus said lahutamatuks osaks linna kultuurilist vaadest.
Beard on ehkole kõige paremini tuntud oma hilisemate maaliste sarjade poolest, mis pärinevad koerte ja kasside portreetidest. Need teosed avastavad vaataja ees mängu- ja armahtundliku sensibiliteedi, püüdes kinni nende lemendatavate lemmikloomade unikaalset iseloomu ja olemust. See temaatiline nihe, mis viis ta portreemalendamisest loomaportreete looma, laiendas tema kunstilist atraktiivsust ja kinnitas tema kohta Ameerika kunsti ajaloos.
James Henry Beard'i kunstiline pärand ilmneb eriti tema tähtsaimates teosest The Illustrious Guest (1847), mis on sügavapõhjaline USA senatork Henry Clay'i portree. See maal on vaid peegeldus Beard'i suurepärast oskusest captureerida tema poliitilisi vaateid ja teravat tähelepanekuvõimet.
Tema võime portretteerida loomadega väärikust ja realismiga on selgelt nähtav teoses Lion and Lioness, mis näitab tema tehnika täiuslikkust. Lisaks sellele on tema kunstiline maailm täis südamlikku ilu, mida illustreerib näiteks It Is Very Queer, Isn't It – näide tema võrratmatult võltsust ja charmist täis loomaportreetidest, mis on suutnud lüüa südamesse.
James Henry Beard’i kunstiteosed pakuvad väärtuslikku pilku 19. sajandi Ameerika ühiskonda ja kultuuri. Tema portreid on avatudks muutunud ajalooliste isikuid, pakkudes sügavad vaatepunktid nende elulikkusesse, samas kui tema loomapildid peegeldavad seda ajastut iseloomustavat kasvavat sentimentaalsust ja kiindlust lemmikloomade vastu. Beard’i võime kohandada oma stiili ja teemavaliku kogu tema pikaajalise karjääri jooksul on tõestanud tema erakordset kunstilist mitmekujulisust ja loovust.
James Henry Beard'i kunstiline maailm on olnud sügavalt vormitud tema õpetaja Jarvis Frary Hanksi mõjutusdest ning 19. sajandi Ameerika portreidirealismist, mis oli tollal tugevasti kohal. Lisaks sellele kogus ta inspiratsiooni oma ajakondsete kunstikolleegide ning muutuva esteetilise tunjetundest, mis püsivalt shaping kuju andis tema loomingule.
Kuigi Beard ei olnud kunstiline revolutsionäär, siis tema teoselise stabiilne kvaliteet ja kaasahaarav teemavalik on taganud tema positsiooni kui olulise Ameerika kunstniku nimena, keda tunnustatakse ka tänapäeval.
