Ažurirano Studeni 2026 · rangirano prema našoj ocjeni popularnosti (pretraživanja, posjeti i narudžbe za svako djelo) · 18 djela James Henry Beard u našem katalogu
Ukratko
Od svih originala koje je James Henry Beard ostavio, najpoznatiji je Lyman Beecher (1842) u kolekciji muzeja National Portrait Gallery, Washington, D.C.. Samo iza njih slijede Portrait (1859) i North Carolina Emigrants, Poor White Folk (1845). Naš katalog sadrži 18 djela umjetnika James Henry Beard; galerija je čuvala onih 17 koja svijet najviše divi, a svako je prikazano s datumom nastanka, muzejom i pričanom.
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
Četiri teme koje se najčešće ponavljaju u ovim originalima, svaka s svojim vrhunskim primjerom.
8 muzeja u kojima se nalazi najviše djela s ove stranice.
| Muzej | Grad | Djela autora James Henry Beard | Slike iz ovog popisa |
|---|---|---|---|
 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 |
 Muzej fine umjetnosti u Houstonu |
Houston | 1 | The Young Itinerant |
 Muzej likovnih umjetnosti |
Boston | 1 | Lyman Beecher |
 Herbert F. Johnson Museum of Art |
Ithaca | 1 | Studio to Let |
Odaberite desetljeće kako biste vidjeli original koji ga definira.
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.. Nakon njih slijede Portrait (1859) i North Carolina Emigrants, Poor White Folk (1845).
30 godina: Lyman Beecher datira iz 1842, a James Henry Beard je rođen/a 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 i Martha Gibson. Gornji rang prikazuje godinu i muzej za svako od njih.
Naš katalog sadrži 18 djela umjetnika James Henry Beard, datiranih od 1840 do 1879.
Većinom u Cincinnati Art Museum (Cincinnati), New York Historical Society (New York City) i Cincinnati Museum Center at Union Terminal (Cincinnati). Gornja tablica muzeja navodi sve njih.
U 1840s: 8 od 17 djela na ovoj stranici nastalo je tada, od čega je Lyman Beecher Lyman Beecher.
Na ovoj stranici najstarije djelo je iz Lyman Beecher (1840), a najnovije iz DeWitt McClellan Lockman (1870-1957) (1879).
Man (9), Portrait (6) i White collar (5), kroz svih 17 djela na ovoj stranici.
Oil On Canvas, za 8 od 17 djela na ovoj stranici.
North Carolina Emigrants, Poor White Folk, Moving Further Westward i THE LAST VICTIM OF THE DELUGE: Cincinnati Art Museum, Cincinnati posjeduje 3 djela s ove stranice.
James Henry Beard (22. travnja 1812. – 1893.) bio je američki slikar koji se specijalizirao za žanr portreta. Postigao je priznanje kroz svoje prikaze istaknutih ličnosti, a kasnije u životu, kroz šarmantne reprezentacije kućnih ljubimaca.
Rođen u Buffalou, u državi New York, James Henry Beard bio je sin engleskih i škotskih imigranata. Njegove umjetničke sklonosti projavile su se rano, brzo cvjetajući nakon što se njegova obitelj preselila na Ohio. Upravo je tamo počeo ozbiljno usavršavati svoje sposobnosti kao umjetnik. Studirao je pod vodstvom Jarvisa Fraryja Hanksa u Painesvilleu na Ohiju, primajući temeljno znanje koje će oblikovati njegovu buduću karijeru.
U svojim ranim umjetničkim istraživanjima, Beard je slobodno eksperimentirao s različitim tehnikama slikarstva, uključujući akvarel, akril i pastel, prije nego što se potpuno posvetio portretu kao svom omiljenom žanru. Njegovi rani radovi često su prikazivali sofisticirane i utjecajne ličnosti, poput Henryja Claya i Johna Quincyja Adamsa. Kroz svoje radove, Beard je pokazao iznimnu darovitost i sposobnost da ne oopiše samo fizički izgled svojih subjekata, već da na najdublji način dočara i njihovu unutarnju snagu, karakter i jedinstvenu osobnost.
Godine 1846., u dobi od 32 godine, James Henry Beard se vratio u New York City, tražeći šire priznanje za svoj umjetnički rad. Njegovi su napori nagrađeni 1848. godine kada je uveden u prestižnu National Academy of Design. Do 1870. godine, New York postao je njegovo trajno domovinstvo.
Beard je možda najpoznatiji po svojoj kasnijoj seriji slika koje prikazuju pse i mačke. Ova djela odražavaju razigranu i punu naklonosti senzibilitetnost, vješto hvatajući jedinstvene osobine ovih voljenih ljubimaca. Taj se pomak u tematici proširio njegovu popularnost i učvrstio njegovo mjesto u povijesti američke umjetnosti.
U bogatom opusu Jamesa Henryja Bearda, neka od najznačajnijih djela osvijetljavaju njegovu nevjerojatnu svestranost i umjetničku evoluciju. The Illustrious Guest (1847), prikazujući američkog senatora Henryja Claya, ne samo da otkriva Beardove političke sklonosti, već i njegovu iznimnu vještinu preciznog promatranja i portretiranja karaktera. S druge strane, djelo Lion and Lioness služi kao dokaz njegove sposobnosti da životinje prikaže s dostojanstvom i dubokim realizmom, dajući im gotovo ljudsku težinu. Naposljetku, djelo It Is Very Queer, Isn't It predstavlja savršen primjer njegovih šarmantnih portreta životinja, koji su ostavili neizbrisiv trag u povijesti američke umjetnosti.
Rad James Henry Beard pruža dragocjen uvid u američko društvo i kulturu 19. stoljeća. Njegovi portreti nude duboki uvid u živote istaknutih pojedinaca, dok njegove slike životinja odražavaju rastuću sentimentalnost prema kućnim ljubimcima u tom razdoblju. Sposobnost prilagodbe vlastitog stila i teme tijekom cijele njegove umjetničke karijere dobitno dokazuje njegovu iznimnu umjetničku svestranost.
Rad James Henry Beard bio je pod snažnim utjecajem njegovog mentora, Jarvisa Fraryja Hanksa, ali i šire tradicije portretizma koja je bila razeta u Americi 19. stoljeća. Njegovo stvaralaštvo crpilo je inspiraciju iz djela suvremenih umjetnika, prateći i stalno evoluirajuće estetske osjećaje tog vremena.
Iako nije bio revolucionarna figura koja je rušila ustaljeNE paradigme, neprestana kvaliteta Beardovih djela i njegova sposobnost da bira fascinantne teme osigurali su mu trajno priznanje kao značajnom američkom umjetniku.
