Thomas Barber का चित्र

33 सबसे प्रसिद्ध Thomas Barber पेंटिंग्स, एक गैलरी चयन

नवमबर 2026 में अपडेट किया गया · हमारे लोकप्रियता स्कोर (प्रत्येक कृति के लिए खोज, विज़िट और ऑर्डर) के आधार पर रैंक किया गया · 45 कृतियाँ Thomas Barber की हमारे कैटलॉग में

संक्षेप में

Thomas Barber द्वारा छोड़ी गई सभी मूल कृतियों में से, सबसे प्रसिद्ध Self Portrait (1841) है, जो नॉटिंगम के Nottingham Castle Museum And Art Gallery के संग्रह में है। इसके ठीक बाद The Honourable Charles James Fox (1749–1806), MP (after Joshua Reynolds) (1784) और Francis James Curzon Mary Curzon, Later Mrs John Beaumont and Alfred Curzon (1812) का स्थान आता है। हमारे कैटलॉग में Thomas Barber की 45 कृतियाँ हैं; गैलरी ने उन 33 कृतियों को सहेज कर रखा है जिन्हें दुनिया सबसे अधिक पसंद करती है, जिनमें से प्रत्येक को उनकी तिथि, उनके संग्रहालय और उनकी कहानी के साथ प्रदर्शित किया गया है।

1771 – 1843, Nottingham Neoclassicism सर्वाधिक कृतियाँ: Nottingham Castle Museum And Art Gallery

Thomas Barber की शीर्ष 10 पेंटिंग: गैलरी का चयन

1
Self Portrait (1841) द्वारा Thomas Barber

Self Portrait

1841 · Oil · Nottingham Castle Museum And Art Gallery, नॉटिंगम

In this 1841 work, we encounter the artist himself, captured in a moment of quiet introspection. The portrait presents a man dressed in the formal attire of the nineteenth century, wearing a dark coat, a crisp white collar, and a tie. A mustache defines his features, lending a sense of maturity and gravity to his expression. It is an intimate study of character, rendered with a precision that suggests a…

2
The Honourable Charles James Fox (1749–1806), MP (after Joshua Reynolds) (1784) द्वारा Thomas Barber

The Honourable Charles James Fox (1749–1806), MP (after Joshua Reynolds)

1784 · Oil On Canvas · नेशनल ट्रस्ट, चेस्टरफ़ील्ड

The subject sits anchored in a sea of dark blues and deep browns. He is a man of middle age, his face etched with the quiet gravity of a life spent in the public eye. Light falls from the upper left, carving the contours of his brow and the sharp lines around his mouth. He holds books against his chest, his hands resting with a heavy, certain stillness. These volumes…

3
Francis James Curzon Mary Curzon, Later Mrs John Beaumont and Alfred Curzon (1812) द्वारा Thomas Barber

Francis James Curzon Mary Curzon, Later Mrs John Beaumont and Alfred Curzon

1812 · Oil On Canvas

The oil painting titled Francis James Curzon Mary Curzon, Later Mrs John Beaumont and Alfred Curzon was executed by the artist Thomas Barber the Elder. This work depicts three children: Alfred Curzon, Francis James Curzon, and Mary Curzon. These subjects are the children of the 2nd Baron Scarsdale and Félicité de Wattines, of Flanders. The figures are presented in a three-quarter length portrait format.

4
Lady Caroline Gordon (1785–1866), Lady Chesham (1814) द्वारा Thomas Barber

Lady Caroline Gordon (1785–1866), Lady Chesham

1814 · Oil On Canvas · नेशनल ट्रस्ट, चेस्टरफ़ील्ड

This oil on canvas portrait, executed in 1814, depicts Lady Caroline Gordon, later known as Lady Chesham. The subject is positioned in a seated posture, facing the viewer with a centered composition that emphasizes the head and upper torso. She is rendered against a dark, indistinct background that provides a high level of contrast to her pale skin and the light-colored fabric of her attire. The lighting is diffused from…

Thomas Barber का चयन जारी है, 11 से 33 तक

11Francis James Curzon (1803–1851) Mary Curzon (1806–1868), Later Mrs John Beaumont and Alfred Curzon (1801–1850) (1812) द्वारा Thomas BarberFrancis James Curzon (1803–1851) Mary Curzon (1806–1868), Later Mrs John Beaumont and Alfred Curzon (1801–1850)1812 · National Trust 12Lady Anne Margaret Coke, Viscountess Anson (1815) द्वारा Thomas BarberLady Anne Margaret Coke, Viscountess Anson1815 · Shugborough Hall 13The Honourable Anne Margaret Anson, Countess of Rosebery (1815) द्वारा Thomas BarberThe Honourable Anne Margaret Anson, Countess of Rosebery1815 · Shugborough Hall 14General Sir George Anson (1769–1849) (1815) द्वारा Thomas BarberGeneral Sir George Anson (1769–1849)1815 · National Trust 15General Sir William Anson (1772–1847), 1st Bt (1815) द्वारा Thomas BarberGeneral Sir William Anson (1772–1847), 1st Bt1815 · National Trust 16Landscape near Bath (1835) द्वारा Thomas BarberLandscape near Bath1835 · National Gallery of Ireland 17Lord Denman (1779–1854) (1833) द्वारा Thomas BarberLord Denman (1779–1854)1833 · Nottingham Castle Museum And Art Gallery 18The Trent at Wilford (1840) द्वारा Thomas BarberThe Trent at Wilford1840 · Nottingham Castle Museum And Art Gallery 19The Reverend John Thomas Becher (1770–1848) द्वारा Thomas BarberThe Reverend John Thomas Becher (1770–1848) 20James Montgomery (1771–1854) द्वारा Thomas BarberJames Montgomery (1771–1854) 21Henry Kirke White, Poet द्वारा Thomas BarberHenry Kirke White, PoetNottingham Castle Museum And Art Gallery 22The Reverend Lewis Sneyd (c.1788–1858) द्वारा Thomas BarberThe Reverend Lewis Sneyd (c.1788–1858)नेशनल ट्रस्ट 23Charles Compton Cavendish (1793–1863), 1st Lord Chesham द्वारा Thomas BarberCharles Compton Cavendish (1793–1863), 1st Lord Cheshamनेशनल ट्रस्ट 24Cecil Brooke Boothby (1813–1883) द्वारा Thomas BarberCecil Brooke Boothby (1813–1883)नेशनल ट्रस्ट 25Landscape with Cattle द्वारा Thomas BarberLandscape with CattleReading Public Museum 26Jonathan Dunn द्वारा Thomas BarberJonathan DunnNottingham Castle Museum And Art Gallery 27Joseph Murray (1737–1820) द्वारा Thomas BarberJoseph Murray (1737–1820) 28Reverend Richard Smith द्वारा Thomas BarberReverend Richard Smithनेशनल ट्रस्ट 29Benjamin Mayo (c.1779–1843), the Old General द्वारा Thomas BarberBenjamin Mayo (c.1779–1843), the Old General 30Sophia Baillie (1771–1843) द्वारा Thomas BarberSophia Baillie (1771–1843) 31David Love (1750–1827), Ballad Writer द्वारा Thomas BarberDavid Love (1750–1827), Ballad WriterNottingham Castle Museum And Art Gallery 32View across Nottingham Park with Lenton Priory in the Distance द्वारा Thomas BarberView across Nottingham Park with Lenton Priory in the DistanceNottingham Castle Museum And Art Gallery 33Cornelius Smelt (1748–1832), Lieutenant Governor of the Isle of Man (1805–1832) (1826) द्वारा Thomas BarberCornelius Smelt (1748–1832), Lieutenant Governor of the Isle of Man (1805–1832)1826 · Manx Museum

वे विषय जिन्होंने Thomas Barber का मन मोह लिया

इन मूल कृतियों में बार-बार आने वाले चार विषय, जिनमें से प्रत्येक का सबसे उत्कृष्ट उदाहरण यहाँ प्रस्तुत है।

वे संग्रहालय जहाँ Thomas Barber की मूल कृतियाँ रखी गई हैं

वे 8 संग्रहालय जिनमें इस पृष्ठ की सर्वाधिक पेंटिंग्स मौजूद हैं।

संग्रहालय शहर Thomas Barber की कृतियाँ इस सूची की पेंटिंग्स
Nottingham Castle Museum And Art Gallery, नॉटिंगमNottingham Castle Museum And Art Gallery नॉटिंगम 7 Self Portrait, Lord Denman (1779–1854), The Trent at Wilford
नेशनल ट्रस्ट, चेस्टरफ़ील्डनेशनल ट्रस्ट चेस्टरफ़ील्ड 7 The Honourable Charles James Fox (1749–1806), MP (after Joshua Reynolds), Lady Caroline Gordon (1785–1866), Lady Chesham, Lady Harriet Cavendish (1785–1862), Countess Granville
National Trust, DerbyNational Trust Derby 2 Mrs Garnett (1724–1809), in the Marble Hall, Francis James Curzon (1803–1851) Mary Curzon (1806–1868), Later Mrs John Beaumont and Alfred Curzon (1801–1850)
Shugborough Hall, Stoke-on-TrentShugborough Hall Stoke-on-Trent 2 Lady Anne Margaret Coke, Viscountess Anson, The Honourable Anne Margaret Anson, Countess of Rosebery
National Trust, MilfordNational Trust Milford 2 General Sir George Anson (1769–1849), General Sir William Anson (1772–1847), 1st Bt
Sheffield City Art Galleries, शेफ़ील्डSheffield City Art Galleries शेफ़ील्ड 1 James Montgomery
Royal College of Physicians of London, लंदनRoyal College of Physicians of London लंदन 1 Matthew Baillie
National Gallery of Ireland, डबलिन सिटीNational Gallery of Ireland डबलिन सिटी 1 Landscape near Bath

Thomas Barber दशक दर दशक: प्रत्येक को परिभाषित करने वाली मूल कृतियाँ

दशकवार कृतियाँ

उस दशक को चुनें जो उसकी पहचान है और उसकी मूल कृतियाँ देखें।

Thomas Barber की पेंटिंग्स के बारे में संग्रहकर्ताओं के प्रश्न

Thomas Barber किस कृति के लिए सबसे अधिक प्रसिद्ध हैं?उत्तर देखें

Self Portrait (1841), Nottingham Castle Museum And Art Gallery, नॉटिंगम. इसके बाद The Honourable Charles James Fox (1749–1806), MP (after Joshua Reynolds) (1784) और Francis James Curzon Mary Curzon, Later Mrs John Beaumont and Alfred Curzon (1812) आते हैं।

Self Portrait के निर्माण के समय Thomas Barber की आयु क्या थी?उत्तर देखें

70 वर्ष की आयु: Self Portrait 1841 का है, और Thomas Barber का जन्म 1771 में हुआ था।

Thomas Barber की दस सबसे प्रसिद्ध पेंटिंग्स कौन सी हैं?उत्तर देखें

Self Portrait, The Honourable Charles James Fox (1749–1806), MP (after Joshua Reynolds), Francis James Curzon Mary Curzon, Later Mrs John Beaumont and Alfred Curzon, Lady Caroline Gordon (1785–1866), Lady Chesham, James Montgomery, Mrs Garnett, in the Marble Hall, Mrs Garnett (1724–1809), in the Marble Hall, Matthew Baillie, Matthew Baillie (1761–1823) और Lady Harriet Cavendish (1785–1862), Countess Granville। ऊपर दी गई रैंकिंग में प्रत्येक का वर्ष और संग्रहालय दिया गया है।

Thomas Barber ने कितनी पेंटिंगें छोड़ीं?उत्तर देखें

हमारे कैटलॉग में Thomas Barber की 45 कृतियाँ हैं, जो 1784 से 1841 तक की हैं।

Thomas Barber की उत्कृष्ट कृतियाँ किन संग्रहालयों में प्रदर्शित हैं?उत्तर देखें

अधिकतर Nottingham Castle Museum And Art Gallery (नॉटिंगम), नेशनल ट्रस्ट (चेस्टरफ़ील्ड) और National Trust (Derby) में। ऊपर दी गई संग्रहालय तालिका में उन सभी की सूची दी गई है।

Thomas Barber ने अपने सबसे प्रसिद्ध कार्यों की रचना किन वर्षों में की थी?उत्तर देखें

1810s में: इस पृष्ठ पर मौजूद 33 कृतियों में से 8 उस समय बनाई गई थीं, जिनमें से Francis James Curzon Mary Curzon, Later Mrs John Beaumont and Alfred Curzon इनमें से हैं।

Thomas Barber की पहली और आखिरी प्रसिद्ध मूल कृतियाँ कौन सी हैं?उत्तर देखें

इस पृष्ठ पर, सबसे पुरानी कृति The Honourable Charles James Fox (1749–1806), MP (after Joshua Reynolds) (1784) है और नवीनतम Self Portrait (1841) है।

Thomas Barber ने सबसे अधिक बार किन विषयों को चुना?उत्तर देखें

इस पृष्ठ पर 33 कृतियों में Portrait (4), Dignified (4) और Formal (4)

Thomas Barber ने किस तकनीक का सबसे अधिक उपयोग किया?उत्तर देखें

इस पृष्ठ पर मौजूद 33 कृतियों में से 4 के लिए Oil On Canvas।

Thomas Barber किस कला आंदोलन (art movement) से संबंधित हैं?उत्तर देखें

इस पृष्ठ पर मूल कृतियों को देखते हुए, Neoclassicism।

Nottingham Castle Museum And Art Gallery में Thomas Barber की कौन सी कृतियाँ प्रदर्शित हैं?उत्तर देखें

Self Portrait, Lord Denman (1779–1854) और The Trent at Wilford: Nottingham Castle Museum And Art Gallery, नॉटिंगम में इस पृष्ठ पर मौजूद कृतियों में से 7 मौजूद हैं।

Thomas Barber: जीवन और कार्य

The Multifaceted Legacy of Thomas Barber

In the vibrant tapestry of the early nineteenth century, few figures embodied the intersection of military discipline and artistic refinement as uniquely as Thomas Barber. Known to many in his era as Barber Beaumont, this remarkable individual led a life that defied simple categorization. Born on December 21, 1774, in the heart of St Marylebone, London, Barber was far more than a mere painter; he was a British army officer, an author, a philanthropist, and a pioneer of miniature portraiture. His journey from the bustling streets of London to the service of royalty and the establishment of significant social institutions reflects a life driven by an unyielding ambition and a profound dedication to both aesthetic beauty and public service.

The artistic soul of Barber was nurtured through a rigorous classical education, which instilled in him a lifelong reverence for historical narrative and neoclassical ideals. Under the influential tutelage of Henry Kirke White, Barber developed a stylistic language characterized by meticulous detail and a dramatic use of light. This training allowed him to navigate the prestigious circles of the Royal Academy's aesthetic, where he mastered the ability to breathe life into both grand historical scenes and intimate portraits. His work often sought to capture the very essence of his subjects, blending the monumental scale of history painting with the delicate, emotive precision required for miniature portraiture.

Mastery of the Miniature and Royal Patronage

While his ambitions reached toward the epic, it was in the intimate realm of miniature painting that Barber achieved his most enduring acclaim. His ability to render the dignity and grace of the aristocracy within a small, exquisitely crafted frame made him a sought-after portraitist for the British elite. Most notably, his role as the miniature painter to the Duke of Clarence—who would later ascend the throne as King William IV—cemented his status within the highest echelons of society. Through these small-scale masterpieces, Barber did not merely record faces; he captured the social standing, character, and enduring legacy of a generation.

His portfolio serves as a window into the Neoclassical era, showcasing a range of subjects that highlight his technical versatility:

  • Lady Caroline Gordon: An 1814 oil portrait that stands as a testament to his ability to convey elegance and wealth through refined brushwork.
  • Henry Kirke White, Poet: A poignant neoclassical portrait that utilizes subtle expression and masterful oil techniques to evoke a sense of remembrance and intellectual status.
  • The Reverend John Thomas Becher: A later work from 1848 that demonstrates his command over dramatic lighting and meticulous detail, reflecting the dignified style of his mature period.

A Life of Service and Entrepreneurial Spirit

Beyond the studio and the battlefield, Barber’s life was defined by a remarkable entrepreneurial spirit and a commitment to social welfare. His experiences as an officer, which included service in South America, provided him with a worldly perspective that informed his later ventures in London. He was not content to remain solely within the realm of fine arts; he applied the same precision found in his paintings to the world of commerce and philanthropy. His involvement in founding insurance offices and his leadership roles in organizations such as the Royal Victoria Rifle Club and the Provident Institution reveal a man deeply invested in the stability and progress of British society.

Ultimately, the historical significance of Thomas Barber lies in this rare synthesis of talents. He was an artist who understood the weight of history, an officer who understood the necessity of order, and a businessman who understood the value of security. Though his name may sometimes be obscured by the alias Beaumont, his contribution to the visual and social fabric of the nineteenth century remains indelible. Through his canvases, we continue to witness the grace of a bygone era, preserved through the eyes of a man who mastered both the brush and the complexities of life itself.