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Iz perspektive galerije, najpoznatije djelo umjetnika Mather Brown je Sir Francis Buller, 1st Bt (1792), čiji se original nalazi u muzeju National Portrait Gallery, London. Master Charles William Park (1785) i Untitled (D2X2CK) (1790) upotpunjuju triju koju svako oko prepoznaje. Od 73 djela umjetnika Mather Brown u našem katalogu, galerija u nastavku prikazuje 72 najpoznatijih, od kojih je svako originalno, s navedenom godinom nastanka, muzejom i onim što ga čini jedinstvenim.
The gaze of Sir Francis Buller, 1st Bt, meets the viewer from within this 1792 oil on canvas. Mather Brown captures the man who lived from 1746 to 1800, freezing a moment of judicial authority upon the fabric of the late eighteenth century. The sitter occupies the space with a quiet, heavy presence, his identity tied to the legal weight of his station. One senses the gravity of his life's…
In this 1785 portrait, we encounter a young boy seated with a composure that feels far beyond his years. There is a stillness here, a sense of a moment caught in the soft light of a receding landscape. He is positioned centrally, his figure anchored by a rugged stone seat that suggests a connection to the natural world, even as his attire speaks of high social standing. The boy’s gaze…
A Commanding Presence: Mather Brown’s Portrait of General Cornwallis This large-scale oil painting (249 x 164 cm), created in 1790 by American artist Mather Brown, offers a compelling and dramatic portrayal of British General Charles Cornwallis – a key figure in the American Revolutionary War. More than just a likeness, this is a carefully constructed statement about power, military leadership, and the lingering echoes of conflict. Brown, who spent much…
The William Temple Franklin painting by Mather Brown utilizes a three-quarter view to establish the subject's presence. Positioned slightly off-center, the gentleman is seated at a desk cluttered with papers and books, a configuration that emphasizes literacy and intellectual status. This Neoclassical portraiture employs an eye-level perspective to create an intimate connection between the sitter and the viewer. Depth is constructed through a deliberate layering of elements: the subject occupies…
A middle-aged man is positioned in a three-quarter length portrait, oriented slightly to the left of the center. He wears a dark navy or black military coat, accented by gold embroidery on the lapels. Beneath the coat, a white waistcoat and a powdered wig provide a sharp contrast to the darker tones of his uniform. The lighting originates from the upper left, casting shadows across the right side of his…
This formal 18th-century portrait, painted in 1786, presents a three-quarter view of a young man positioned slightly off-center. Facing towards the right while looking directly at the viewer, the subject exudes an air of elegance and aristocratic poise. The composition utilizes a deep brown background to create a strong chiaroscuro effect, which serves to highlight the subject's face and his white powdered wig.
The oil-on-canvas work titled Self-portrait is a direct encounter with the artist, Mather Brown. Created about 1812, this bust-length portrait captures the man as he appeared during the early nineteenth century. The subject gazes out from the frame, meeting the observer's eyes with a steady, quiet presence.
In this 1787 oil on canvas, a young man is positioned in a three-quarter view from the chest upward. He wears a dark black coat that contrasts against a crisp white cravat wrapped around his neck. A powdered wig with soft, defined curls frames his face. Behind him, a heavy red drapery falls in deep folds, providing a saturated backdrop to the figure. The lighting is directional, casting one side…
This oil on canvas presents Sir George Augustus Elliott, Baron Heathfield, as rendered by the American-born painter Mather Brown. The work was executed between 1788 and 1791, a period during which Brown was establishing his presence within the London art scene. The portrait captures the likeness of a man whose military career was defined by service in three major eighteenth-century wars.
Portrait of Augustin Prevost in Uniform (for pair see - (109326))1723
12
Thomas Dawson, Viscount Cremorne1788 · National Gallery of Art
13
George, Prince of Wales (1762-1830), later George IVBuckingham Palace
14
Portrait of a ManMuzej likovnih umjetnosti
15
Portrait Of Sir George Yonge
16
Portrait Of Charles Bulfinch
17
Sir John Colpoys
18
Sir John Eamer, Lord Mayor Of London
19
Thomas Fitzherbert
20
Rear Admiral Sir Home Popham
21
Henry Blundell
22
Portrait Of Major John Norton As Mohawk Chief TeyoninhokarawenYale Center for British Art
23
Lord Cornwallis Receiving The Sons Of Tipu As Hostages
24
Romeo And Juliet
25
Lady with a Dog1786 · Metropolitan Museum of Art
26
Portrait of a Young Woman1801 · Metropolitan Museum of Art
27
Portrait Of Sir John Eamer, Lord Mayor Of London
28
Lord Loughborough
29
Richard Clark
30
William Thomas
31
Peter Mellish, Sheriff
32
Ohn Williams A.K.A. Anthony Pasquin
33
John Bridge Aspinall
34
Sir William Dolben
35
Captain George Miller BlighNational Maritime Museum
36
Thomas Hugh Clifford Of Tixall
37
Anne Watts, Wife Of The 11th Earl Of Cassillis
38
Thomas Lowton
39
Portrait Of George Fermor
40
Frederick Augustus
41
Anne Brunton And Joseph Holman As Romeo And Juliet In 'romeo And Juliet'
42
Portrait of Hon. Harrison Gray
43
Sir John William Anderson
44
Portrait of Sir Richard ArkwrightNew Britain Museum of American Art
45
Captain The Honourable Archibald Kennedy
46
The Reverend Alban Thomas GwynneThe Homewood
47
Mary Anne Vevers), Mrs Alban Thomas Jones GwynneThe Homewood
48
Sir Christopher Wray
49
Thomas Howard, Earl Of Surrey, Defending His Allegiance To Richard Iii Before Henry Vii After The Ba
50
Henry AngeloNational Portrait Gallery
51
Viscount Mount Stuart, Provost Of Rothesay
52
Portrait Of An Unknown Man
53
Portrait Of Joseph Bologne De Saint-georgeMetropolitan Museum of Art
54
Susannah Jones, Mrs Alban Thomas GwynneThe Homewood
55
John Smeaton
56
Colonel Alban Thomas Jones GwynneThe Homewood
57
John Adams
58
Miss Mary Barbara, Miss Mary Isabella, And Master Thomas Aston Clifford
59
Lord Mountstuart
60
John HowardNational Portrait Gallery
61
Alexander WedderburnSkotska nacionalna galerija portreta
62
Garrick Between Tragedy And Comedy
63
A Girl At A HarpsichordPollok House
64
Sir Charles Morgan
65
Purveyor, Army Medical Department
66
Lord George Augustus Cavendish
67
Franz Joseph Haydn
68
Sir Francis Buller, 1st Bt
69
The Baptism Of Henry Viii
70
The Battle Of The Nile - Destruction Of 'l'orient'National Maritime Museum
71
Lord Howe On The Deck Of The 'queen Charlotte'National Maritime Museum
72
Thomas Jefferson1786 · National Portrait Gallery
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 Mather Brown | Slike iz ovog popisa |
|---|---|---|---|
 National Portrait Gallery |
London | 4 | Sir Francis Buller, 1st Bt, Henry Angelo, John Howard |
 Metropolitan Museum of Art |
New York | 4 | Untitled (D2X2CK), Lady with a Dog, Portrait of a Young Woman |
 The Homewood |
4 | The Reverend Alban Thomas Gwynne, Mary Anne Vevers), Mrs Alban Thomas Jones Gwynne, Susannah Jones, Mrs Alban Thomas Gwynne | |
 National Maritime Museum |
London | 3 | Captain George Miller Bligh, The Battle Of The Nile - Destruction Of 'l'orient', Lord Howe On The Deck Of The 'queen Charlotte' |
 Detroit Institute of Arts |
Detroit | 2 | Master Charles William Park, Sir George Augustus Elliott, Baron Heathfield |
 Muzej likovnih umjetnosti |
Boston | 2 | A Commander in the East India Company, Portrait of a Man |
 National Gallery of Art |
Washington | 2 | William Vans Murray, Thomas Dawson, Viscount Cremorne |
 Gilcrease Museum |
Tulsa | 1 | William Temple Franklin painting |
Odaberite desetljeće kako biste vidjeli original koji ga definira.
In this 1785 portrait, we encounter a young boy seated with a composure that feels far beyond his years. There is a stillness here, a sense of a moment caught in the soft light of a receding landscape. He is positioned centrally, his figure anchored by a rugged stone seat that suggests a connection to the natural world, even as his attire speaks of high social standing. The boy’s gaze…
The gaze of Sir Francis Buller, 1st Bt, meets the viewer from within this 1792 oil on canvas. Mather Brown captures the man who lived from 1746 to 1800, freezing a moment of judicial authority upon the fabric of the late eighteenth century. The sitter occupies the space with a quiet, heavy presence, his identity tied to the legal weight of his station. One senses the gravity of his life's…
Mather Brown’s “Portrait of a Young Woman,” painted in 1801, is more than just a likeness; it's a carefully constructed tableau of Neoclassical grace and burgeoning Romantic sentiment. Born in Boston to a family steeped in New England intellectual history – tracing back to the influential Cotton and Increase Mather – Brown’s artistic journey led him from itinerant portraiture across New England to the vibrant, cosmopolitan world of London, where…
The oil-on-canvas work titled Self-portrait is a direct encounter with the artist, Mather Brown. Created about 1812, this bust-length portrait captures the man as he appeared during the early nineteenth century. The subject gazes out from the frame, meeting the observer's eyes with a steady, quiet presence.
Sir Francis Buller, 1st Bt (1792), National Portrait Gallery, London. Nakon njih slijede Master Charles William Park (1785) i Untitled (D2X2CK) (1790).
31 godina: Sir Francis Buller, 1st Bt datira iz 1792, a Mather Brown je rođen/a 1761.
Sir Francis Buller, 1st Bt, Master Charles William Park, Untitled (D2X2CK), William Temple Franklin painting, A Commander in the East India Company, William von Freytag (1711-1798), Charles Bulfinch (1763-1844), Self-portrait, William Vans Murray i Sir George Augustus Elliott, Baron Heathfield. Gornji rang prikazuje godinu i muzej za svako od njih.
Naš katalog sadrži 73 djela umjetnika Mather Brown, datiranih od 1782 do 1812.
Većinom u National Portrait Gallery (London), Metropolitan Museum of Art (New York) i The Homewood. Gornja tablica muzeja navodi sve njih.
U 1780s: 9 od 72 djela na ovoj stranici nastalo je tada, od čega je Master Charles William Park Master Charles William Park.
Na ovoj stranici najstarije djelo je iz William Temple Franklin painting (1782), a najnovije iz Self-portrait (1812).
Portrait (10), Man (9) i Men (9), kroz svih 72 djela na ovoj stranici.
Oil On Canvas, za 10 od 72 djela na ovoj stranici.
Neoclassicism, sudeći po originalima na ovoj stranici.
Sir Francis Buller, 1st Bt, Henry Angelo i John Howard: National Portrait Gallery, London posjeduje 4 djela s ove stranice.
Mather Brown stoji kao fascinantan most između dvije ere, slikar čiji su život i rad utjelovili promjenjive tide kasnog 18. i ranog 19. stoljeća. Rođen u Bostonu 1761. godine, njegov je umjetnički identitet kovano u intelektualnom žaru kolonijalne Amerike prije nego što je pronašao svoj vrhunski izraz u veličanstvenim londonskim studijima. Njegovo putovanje predstavlja mnogo više od samo osobne karijere; ono odražava kretanje umjetničkih ideala od strogih, strukturiranih principa neoklasicizma prema emotivnom, dramatičnom duhu romantizma. Ova tranzicija omogućila je Brownu da postane svestran pripovjedač, sposoban uhvatiti kako tiho dostojanstvo individualnog portreta, tako i kaotičnu veličinu povijesnog sukoba.
Temelj Brownove majstorstva može se pratiti do njegovog ranog mentorstva pod legendarnim Johnom Singletonom Copleyem. Pod Copleyevim pažljivim okom, Brown je naučio važnost pedantnog detalja i dubokog razumijevanja klasične forme. Ova obuka pružila mu je tehničku disciplinu potrebnu za kretanje kroz kompetitivno europsko tržište umjetnina. Kada se preselio u London 1790. godine, nije stigao tek kao stranac, već kao pripremljeni profesionalac, brzo osvojivši svoje mjesto unutar prestižne Kraljevske akademije. Ovo članstvo bilo je presudno postignuće, signalizirajući njegov prihvaćeni status u najvišim krugovima britanske umjetničke ustanove i pružajući mu platformu za interakciju s najutjecajnijim figurama svog doba.
Brownov opus odlikuje izvanredna sposobnost prilagodbe tehnike potrebama njegove tematske materije. U svom portretnom stvaralaštvu posjedovao je nevjerojatan dar za prikazivanje suptilnih nijansi karaktera i društvenog statusa. Njegovi portreti znamenitosti poput Thomasa Jeffersona i Benjamina Westa pokazuju oštro oko za političke i društvene struje tog doba, prožimajući svoje subjekte osjećajem postojanosti i gravitacije. Bilo da je dočaravao profinjenu eleganciju u djelu Gospa s psom ili dostojanstveno prisustvo u portretu Thomasa Lowtona, Brown je koristio svjetlost i teksturu kako bi na platnu stvorio živopisna, gotovo disajuća prisustva.
Izvan intimne razmjere portretiranja, Brown je težio uhvatiti epske trenutke. Bio je slikar velike ambicije, često usmjeravajući pažnju na povijesna platna koja su zahtijevala vladanje složenom kompoziciju i dramatičnim pokretom. Njegovo djelo Bitka kod Nila služi kao vrhunac tog pristupa, gdje se udaljio od statičnih klasičnih formi kako bi priabrao vrtoglavu energiju i visceralnu intenzitet pomorske bitke. U tim širim djelima može se uočiti pojavljivanje romantičarskog senzibiliteta — fokusa na uzvišeno, moćno i transformativnu prirodu povijesnih događaja.
Značaj Mathera Browna leži u njegovoj ulozi kulturnog posrednika. Spajanjem preciznosti svoje američke obuke sa stilskim inovacijama londonske umjetničke scene, pomogao je oblikovati vizualni jezik ere definirane revolucijom i tranzicijom. Njegova sposobnost navigacije između formalnih zahtjeva naručenog portretiranja i narativnih zahtjeva povijesne slike omogućila mu je da ostavi neizbrisiv trag u britanskoj i američkoj umjetničkoj svijesti.
Danas njegova djela ostaju vitalna mjerila za razumijevanje evolucije zapadne umjetnosti. Kroz njegova platna svjedočimo:
