Mary Beale muotokuva

Mary Beale -maalaukset: Gallerian silmin 64 kuuluisinta teosta

Päivitetty lokakuu 2026 · järjestetty suosituimmuuspisteiden mukaan (jokaisen teoksen haut, vierailut ja tilaukset) · 65 teosta taiteilijalta Mary Beale luettelossamme

Lyhyesti

Gallerian silmissä Mary Beale's tunnetuin maalaus on King Charles II (1675), jonka alkuperäinen teos on esillä National Portrait Gallery -museossa, kaupungissa Lontoo. Bartholomew Beale (1663) ja Portrait of a lady (1680) täydentävät kolmikon, jonka jokainen silmä tunnistaa. Galleria esittelee Mary Beale teoksista 65 tunnetuimmat 64 teosta alla; jokainen on alkuperäisteos, josta kerrotaan vuosi, museo sekä teoksen erityispiirteet.

1633 – 1699, Suffolk Baroque Eniten teoksia: National Portrait Gallery

Gallerian 10 parasta Mary Beale -maalausta

1
King Charles II (1675) tekijä Mary Beale

King Charles II

1675 · Oil On Canvas · National Portrait Gallery, Lontoo

The monarch emerges from a deep, shadowy void, his presence commanding the space within an oval frame. King Charles II gazes outward with a somber, regal expression that suggests the heavy weight of sovereignty. Light sweeps in from the upper left, catching the high ridge of his cheekbone and the delicate, intricate folds of a white lace cravat. This directional glow carves his features out of the darkness, creating a…

2
Bartholomew Beale (1663) tekijä Mary Beale

Bartholomew Beale

1663 · Oil On Paper · Yale Center for British Art, New Haven

A young boy gazes out from the canvas, his eyes wide and filled with a quiet, thoughtful intensity. He sits slightly off-center, his small form bathed in a soft, directional light that spills from the upper left, casting gentle shadows across the right side of his face. This light creates a sense of three-dimensional volume, making his youthful features feel tangible and present. His hair, a halo of light brown…

4
Viscountess Frances Hatton (1664) tekijä Mary Beale

Viscountess Frances Hatton

1664 · Oil On Canvas · Smithsonian American Art Museum, Washington, D.C.

In this close-up portrait of Viscountess Frances Hatton by Mary Beale, the subject is positioned in a three-quarter view. The figure is contained within a painted trompe l'oeil oval frame that sits against a background of deep, dark umber and black. This dark backdrop creates a sharp contrast with the subject, focusing the viewer's attention on the sitter. The color palette is dominated by warm, muted tones, specifically ochre, gold,…

6
Bartholomew Beale, in Profile (1660) tekijä Mary Beale

Bartholomew Beale, in Profile

1660 · Oil On Paper · Tate Britain, Lontoo

In this intimate Baroque oil on paper painting, titled Bartholomew Beale, in Profile, the artist Mary Beale turns her gaze toward a young boy. The work emerges from the year 1660, capturing a fleeting moment of childhood through a side view that emphasizes the soft contours of a small face. This portrait offers a quiet glimpse into the artist's private sphere, as the subject is her own son.

7
An Unknown Man, called John Milton (1608-1674) (1660) tekijä Mary Beale

An Unknown Man, called John Milton (1608-1674)

1660 · Oil · Nostell Priory, Wakefield

In this 1660 portrait, we encounter a man captured in a moment of profound contemplation. The subject is presented in a three-quarter view, framed by an illusionistic painted oval that lends a sense of depth to the composition. There is a certain gravity to his presence, an intellectual weight that seems to emanate from his calm expression. The lighting is deliberate, employing a chiaroscuro technique that pulls the face and…

8
Portrait of a woman with a black hood (1660) tekijä Mary Beale

Portrait of a woman with a black hood

1660 · Oil On Canvas · National Museum of Women in the Arts, Washington, D.C.

The gaze of a single female figure meets the viewer in Portrait of a woman with a black hood, an oil work created by Mary Beale in 1660. This portrait captures a moment of quietude, presenting the subject in a bust-length view that feels immediate and personal. The woman appears framed within an oval-shaped trompe l'oeil effect, a visual device that creates the illusion of a window into her private…

9
Sir Courtenay Pole, 2nd Bt, MP (1618/19–1695) (1670) tekijä Mary Beale

Sir Courtenay Pole, 2nd Bt, MP (1618/19–1695)

1670 · Oil On Canvas · Antony House

This portrait depicts Sir Courtenay Pole, 2nd Bt, MP (1618/19–1695). The subject is rendered in a bust-length composition, presented within an illusionistic painted oval frame that creates a trompe l'oeil effect. The sitter is shown in military attire, specifically wearing a polished steel cuirass and a white cravat. The work is an oil on canvas painting executed by the artist Mary Beale.

10
Self-Portrait Holding a Palette (1670) tekijä Mary Beale

Self-Portrait Holding a Palette

1670 · Oil On Canvas

Mary Beale's Self-Portrait Holding a Palette, executed about 1670, presents a formal and dignified three-quarter length portrait. The subject is a woman, identified as the artist herself, seated and turned slightly toward the viewer. She holds an artist's palette in one hand and a fine brush in the other, establishing her professional identity through these symbolic attributes.

Mary Beale -taideteokset, sijoitukset 11–64

11Jan Baptist Van Helmont (not Robert Hooke) (1674) tekijä Mary BealeJan Baptist Van Helmont (not Robert Hooke)1674 12Lady Sadleir (1687) tekijä Mary BealeLady Sadleir1687 · Sutton House 13Sir Edwyn Sadleir, 2nd Baronet of Temple Dinsey (1656-1719) (1687) tekijä Mary BealeSir Edwyn Sadleir, 2nd Baronet of Temple Dinsey (1656-1719)1687 · Sutton House 14Lady Elizabeth Percy, Countess of Ogle, later Duchess of Somerset (1667-1722) and Algernon, later 7th Duke of Somerset (1684 - 1750) as 'Madonna and Child' (after Van Dyck) (1685) tekijä Mary BealeLady Elizabeth Percy, Countess of Ogle, later Duchess of Somerset (1667-1722) and Algernon, later 7th Duke of Somerset (1684 - 1750) as 'Madonna and Child' (after Van Dyck)1685 · Petworth House 15An Unknown Man (1676) tekijä Mary BealeAn Unknown Man1676 · Dunster Castle 16Possibly Mary Morice, Lady Carew  (d. 1698) (1687) tekijä Mary BealePossibly Mary Morice, Lady Carew (d. 1698)1687 · Antony House 17Rachel Carew, Mrs Ambrose Manaton (1669–1705) (1684) tekijä Mary BealeRachel Carew, Mrs Ambrose Manaton (1669–1705)1684 · Antony House 18Portrait of a Young Girl (1681) tekijä Mary BealePortrait of a Young Girl1681 19Charles Beale the Younger (1680) tekijä Mary BealeCharles Beale the Younger1680 20Self-Portrait (1675) tekijä Mary BealeSelf-Portrait1675 21Portrait of Nell Gwyl (1697) tekijä Mary BealePortrait of Nell Gwyl1697 22The Reverend William Cremer (1663/4-1736) (1692) tekijä Mary BealeThe Reverend William Cremer (1663/4-1736)1692 · Felbrigg Hall 23Untitled 2 tekijä Mary BealeUntitled 2 24Portrait of a Physician tekijä Mary BealePortrait of a PhysicianDulwichin taidegalleria 25Portrait of a Mathematician tekijä Mary BealePortrait of a Mathematician 26Mary Wither of Andwell (1670) tekijä Mary BealeMary Wither of Andwell1670 · Art Gallery of South Australia 27Anna Maria, Countess of Shrewsbury (1642–1702) (1659) tekijä Mary BealeAnna Maria, Countess of Shrewsbury (1642–1702)1659 28Master Child, one of the Sons of Sir Francis Child the Elder (1642-1713) (1687) tekijä Mary BealeMaster Child, one of the Sons of Sir Francis Child the Elder (1642-1713)1687 · Osterley Park And House 29Master Child, one of the Sons of Sir Francis Child the Elder (1642-1713) (1687) tekijä Mary BealeMaster Child, one of the Sons of Sir Francis Child the Elder (1642-1713)1687 · Osterley Park And House 30An Unknown Gentleman (believed to be a Member of the Williams Family) tekijä Mary BealeAn Unknown Gentleman (believed to be a Member of the Williams Family)Penmaenmawr Museum 31An Unknown Lady (believed to be a Member of the Williams Family) tekijä Mary BealeAn Unknown Lady (believed to be a Member of the Williams Family)Penmaenmawr Museum 32Lady Leake (1657-1709) tekijä Mary BealeLady Leake (1657-1709)National Maritime Museum 33Unknown woman tekijä Mary BealeUnknown womanNationalmuseum 34Sir Nicholas Stuart, Bart tekijä Mary BealeSir Nicholas Stuart, BartAuckland Art Gallery Toi o Tāmaki 35Aphra Behn, (Engraving) tekijä Mary BealeAphra Behn, (Engraving) 36Head of a man tekijä Mary BealeHead of a man 37Portrait of a Lady as St Agnes tekijä Mary BealePortrait of a Lady as St Agnes 38Half-length seated figure of a leather worker tekijä Mary BealeHalf-length seated figure of a leather worker 39Charles II (1630–1685) tekijä Mary BealeCharles II (1630–1685) 40Figure studies tekijä Mary BealeFigure studies 41John Wilkins tekijä Mary BealeJohn Wilkins 42Portrait of a Baby tekijä Mary BealePortrait of a Baby 43Edward Stillingfleet tekijä Mary BealeEdward Stillingfleet 44Aphra Behn tekijä Mary BealeAphra Behn 45Portrait of a Youth tekijä Mary BealePortrait of a YouthDulwichin taidegalleria 46Thomas Sydenham tekijä Mary BealeThomas SydenhamNational Portrait Gallery 47Charles Beale the Elder tekijä Mary BealeCharles Beale the ElderNational Portrait Gallery 48Mary Beale tekijä Mary BealeMary BealeNational Portrait Gallery 49portrait of the King's mistress, the actress Moll Davis tekijä Mary Bealeportrait of the King's mistress, the actress Moll Davis 50Portrait of a young girl tekijä Mary BealePortrait of a young girl 51John Lake tekijä Mary BealeJohn Lake 52Unknown man tekijä Mary BealeUnknown manNational Portrait Gallery 53Mary Beale with her family tekijä Mary BealeMary Beale with her family 54George Savile, 1st Marquess of Halifax tekijä Mary BealeGeorge Savile, 1st Marquess of HalifaxNational Portrait Gallery 55Portrait of a young boy tekijä Mary BealePortrait of a young boy 56self portrait tekijä Mary Bealeself portrait 57Francis Turner tekijä Mary BealeFrancis Turner 58William Pierrepont tekijä Mary BealeWilliam Pierrepont 59Portrait of an unknown young boy tekijä Mary BealePortrait of an unknown young boy 60Portrait of a Young Child tekijä Mary BealePortrait of a Young Child 61Portrait of Zachary Cradock tekijä Mary BealePortrait of Zachary Cradock 62Portrait of a Gentleman tekijä Mary BealePortrait of a Gentleman 63Portrait of Charles Beale in a Black Hat tekijä Mary BealePortrait of Charles Beale in a Black Hat 64Portrait of Sir Thomas Isham tekijä Mary BealePortrait of Sir Thomas Isham

Aiheet, jotka vangitsivat Mary Bealein katseen

Nämä neljä aihetta toistuvat näissä alkuperäisteoksissa useimmin, jokaisesta löytyy hienoin esimerkki.

Museot, joissa Mary Beale'n alkuperäisteokset sijaitsevat

Tämän sivun teoksista eniten sisältävät 8 museota.

Museo Kaupunki Mary Beale teokset Tämän listan maalaukset
National Portrait Gallery, LontooNational Portrait Gallery Lontoo 6 King Charles II, Thomas Sydenham, Charles Beale the Elder
Antony HouseAntony House 3 Sir Courtenay Pole, 2nd Bt, MP (1618/19–1695), Possibly Mary Morice, Lady Carew (d. 1698), Rachel Carew, Mrs Ambrose Manaton (1669–1705)
Sutton HouseSutton House 2 Lady Sadleir, Sir Edwyn Sadleir, 2nd Baronet of Temple Dinsey (1656-1719)
Dulwichin taidegalleria, LontooDulwichin taidegalleria Lontoo 2 Portrait of a Physician, Portrait of a Youth
Osterley Park And House, LondonOsterley Park And House London 2 Master Child, one of the Sons of Sir Francis Child the Elder (1642-1713), Master Child, one of the Sons of Sir Francis Child the Elder (1642-1713)
Penmaenmawr Museum 2 An Unknown Gentleman (believed to be a Member of the Williams Family), An Unknown Lady (believed to be a Member of the Williams Family)
Yale Center for British Art, New HavenYale Center for British Art New Haven 1 Bartholomew Beale
National Gallery of Victoria, MelbourneNational Gallery of Victoria Melbourne 1 Portrait of a lady

Mary Beale, yksi tunnusomainen maalaus vuosikymmeneltä

Teokset vuosikymmenittäin

Valitse vuosikymmen nähdäksesi sen määrittäneen alkuperäisteoksen.

Mary Bealen maalaukset: gallerian vastaukset

Mikä Mary Beale -taideteos on kaikkien kuuluisin?Paljasta vastaus

King Charles II (1675), National Portrait Gallery, Lontoo. Seuraavina ovat Bartholomew Beale (1663) ja Portrait of a lady (1680).

Kuinka vanha Mary Beale oli valmistuessaan teos King Charles II?Paljasta vastaus

42 vuotta vanha: King Charles II on peräisin vuodelta 1675, ja Mary Beale on syntynyt vuonna 1633.

Mitkä ovat Mary Beale'n 10 parasta maalausta?Paljasta vastaus

King Charles II, Bartholomew Beale, Portrait of a lady, Viscountess Frances Hatton, Lady Elizabeth Cavendish, Countess of Bridgewater (c.1627-1663), Bartholomew Beale, in Profile, An Unknown Man, called John Milton (1608-1674), Portrait of a woman with a black hood, Sir Courtenay Pole, 2nd Bt, MP (1618/19–1695) ja Self-Portrait Holding a Palette. Yllä oleva sijoitus kertoo kunkin teoksen vuosiluvun ja museon.

Kuinka monta teosta Mary Beale loi?Paljasta vastaus

Katalogissamme on 65 teosta taiteilijalta Mary Beale, aikaväliltä 1659–1697.

Missä Mary Beale'n kuuluisimmat alkuperäisteokset sijaitsevat?Paljasta vastaus

Pääasiassa National Portrait Gallery (Lontoo), Antony House ja Sutton House. Yllä oleva museotaulukko listaa ne kaikki.

Milloin Mary Beale maalasi kuuluisimmat teoksensa?Paljasta vastaus

Aikakaudella 1680s: 10 sivun 64 teoksista on tehty silloin, joista Portrait of a lady.

Mitkä ovat Mary Beale'n varhaisimmat ja viimeisimmät kuuluisat teokset?Paljasta vastaus

Tällä sivulla vanhin on Anna Maria, Countess of Shrewsbury (1642–1702) (1659) ja uusin Portrait of Nell Gwyl (1697).

Mihin aiheisiin Mary Beale palasi useimmin?Paljasta vastaus

Woman (13), Portraits (13) ja Royalty (11), yhteensä 64 teosta tällä sivulla.

Mitä tekniikkaa Mary Beale käytti eniten?Paljasta vastaus

Oil On Canvas, 18 teoksesta sivun 64 teoksesta.

Mihin taidesuuntaukseen Mary Beale kuuluu?Paljasta vastaus

Baroque, tämän sivun alkuperäisteosten perusteella.

Mitä Mary Beale -taiteilijan alkuperäisteoksia National Portrait Gallery -museossa on?Paljasta vastaus

King Charles II, Thomas Sydenham ja Charles Beale the Elder: National Portrait Gallery, Lontoo -ssä on 6 tämän sivun teoksista.

Mary Beale: taiteilija

A Life Illuminated: The World of Mary Beale

Born in the quiet Suffolk rectory of Barrow in late March 1633, Mary Cradock entered a world where artistic inclination was considered an acceptable pastime, but a profession for a woman remained largely uncharted. Her father, John Cradock, a rector with a painter’s hand himself, provided her initial grounding in the arts—a fortunate circumstance that would shape her destiny. Growing up near Bury St Edmunds, young Mary likely encountered established artists like Peter Lely and Matthew Snelling, absorbing influences that would later blossom into her own distinctive style. This early exposure to the burgeoning London art scene planted a seed of ambition within her, even as societal expectations sought to confine her talents to the domestic sphere. The loss of her mother at age ten brought hardship, but also a strengthened bond with her father and an increased focus on artistic pursuits as a source of solace and expression.

Navigating Convention: Portraiture and Family Life

In 1652, Mary married Charles Beale, a civil servant who would become not only her husband but also her indispensable partner in navigating the complexities of a professional life. Theirs was an unusual collaboration for the era—a true partnership built on mutual respect and shared ambition. The Beales established a home and family, welcoming two sons, Bartholomew and Charles Jr., while simultaneously building Mary’s artistic career. Initially working from their residences in Covent Garden and later Albrook, Hampshire, she began to accept commissions, slowly gaining recognition for her skill. Charles played a pivotal role, managing the practicalities of her studio—preparing materials, handling finances, meticulously recording every detail of her work in his now-famous notebooks. These records offer an invaluable glimpse into 17th-century artistic practice and provide compelling evidence of Mary’s burgeoning success. Her portraits weren't merely likenesses; they were intimate studies of character, capturing the essence of her sitters with a remarkable degree of realism and sensitivity. She specialized in depicting members of her family, friends, local gentry, nobility, and clergy—a diverse clientele that speaks to her growing reputation.

A Baroque Sensibility: Style and Technique

Mary Beale’s artistic style was deeply rooted in the Baroque period, characterized by dramatic lighting, rich colors, and a keen attention to detail. However, she wasn't simply an imitator of prevailing trends. She developed a distinctive approach that set her apart from contemporaries like Lely, infusing her portraits with a warmth and psychological depth that resonated with her sitters. Her technique involved careful observation and meticulous rendering, but also a willingness to experiment with materials and methods. Charles Beale’s notes reveal her innovative exploration of cheaper supports for paintings—such as onion bags and bed-ticking—demonstrating both resourcefulness and a commitment to accessibility. She was particularly adept at capturing the textures of fabrics and the nuances of human expression, creating portraits that felt remarkably alive. Her 1663 manuscript on painting techniques, specifically focusing on apricot hues, stands as the earliest known instructional text by a female painter in English—a testament to her knowledge, skill, and willingness to share her expertise.

Breaking Barriers: Legacy and Historical Significance

Mary Beale’s career was not without its challenges. As a woman artist in 17th-century England, she faced societal constraints that limited opportunities for professional advancement. Yet, she persevered, establishing a thriving practice while simultaneously fulfilling her roles as wife and mother—a remarkable feat in an era when women were largely excluded from public life. Her financial independence, achieved through her art, was particularly noteworthy, challenging conventional expectations and demonstrating her business acumen. She received praise from prominent artists like Sir Peter Lely and recognition in contemporary writings about British art, solidifying her position within the artistic community. Beale’s legacy extends beyond her individual achievements; she paved the way for future generations of women artists, proving that talent knew no gender. In recent decades, her work has experienced a well-deserved rediscovery, with increased scholarly attention and exhibitions showcasing her remarkable contributions to English portraiture. The detailed records kept by Charles Beale provide invaluable insights into the art world, social customs, and daily life of 17th-century England, ensuring that Mary Beale’s story—and her artistry—continues to inspire and captivate audiences today. Her work is preserved on platforms like OriginalUniqueArt, OriginalUniqueArt, and others, guaranteeing her enduring presence in the cultural landscape.

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