Ažurirano Studeni 2026 · rangirano prema našoj ocjeni popularnosti (pretraživanja, posjeti i narudžbe za svako djelo) · 31 djela Robert Gibb u našem katalogu
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Iz perspektive galerije, najpoznatije djelo umjetnika Robert Gibb je Zatvaranje kapija u Hougoumontu, 1815. (1903). Comrades, the 42nd Highlanders (copy of an earlier painting by the artist) (1894) i Sir Francis Webster (1912) upotpunjuju triju koju svako oko prepoznaje. Od 31 djela umjetnika Robert Gibb u našem katalogu, galerija u nastavku prikazuje 28 najpoznatijih, od kojih je svako originalno, s navedenom godinom nastanka, muzejom i onim što ga čini jedinstvenim.
In the grand tapestry of military art, few moments resonate with as much visceral tension as Robert Gibb’s 1903 masterpiece, Closing the Gates at Hougoumont, 1815. This oil on canvas is not merely a depiction of a historical event; it is an immersive descent into the chaotic heart of the Battle of Waterloo. As the viewer approaches this monumental work, they are immediately thrust into the smoke-filled atmosphere of a…
The painting is titled Comrades, the 42nd Highlanders (copy of an earlier painting by the artist) and was created by the artist Robert Gibb. This work is a historical representation of the 42nd Highlanders during the Crimean War. The piece is dated about 1894.
This portrait of Sir Francis Webster was executed by the Scottish artist Robert Gibb in 1912. It is a work that captures a specific moment of civic recognition, having been presented by Arbroath Liberals and Other Friends on 20 April 1912. This presentation was made in recognition of his eminent public services within Arbroath.
A man on horseback moves through a landscape of quiet movement. He sits centered, a solitary figure navigating the space between the river and the rising hill. Above him, the castle looms, a heavy silhouette of stone anchored to the high ground. The sky and the earth meet in a soft, atmospheric haze that blurs the edges of the trees. Two birds drift through the air, one to the left…
In this oil painting on canvas, Robert Gibb presents a large-scale study of a bearded warrior. Created about 1883, The Sea King captures a figure seated upon a collection of furs and draped fabric. The subject gazes toward the ocean, his posture suggesting a moment of quiet contemplation or perhaps a heavy sense of melancholy. The composition places the weight of the scene upon this central figure, whose presence dominates…
In this 1889 oil portrait, Robert Gibb captures the likeness of a man defined by his convictions. The subject is Rev. James Morison, 1816 - 1893, a Scottish cleric who founded the Scottish Evangelical Union. Born in Bathgate, Linlithgowshire, Morison’s presence in the painting carries the weight of his theological history. He lived through a century of profound change, eventually passing away at his residence, Florentine Bank, Hillhead, Glasgow.
A single light source carves a face from the shadows. The subject, an elderly man with a voluminous white beard, sits in a quiet, three-quarter pose. He is a figure of gravity, draped in a dark, formal coat that absorbs the surrounding gloom. His hands rest near a book, a heavy volume that anchors his presence in the dim space. The light catches the fine texture of his skin and…
In the "Portrait of a Girl" by Robert Gibb, a young subject is captured in a bust-length study, rendered with a quiet, direct presence. Positioned centrally within the frame, the girl faces slightly toward the viewer's right, her gaze held at an intimate, eye-level perspective. The composition relies on the weight of form and the movement of light rather than a multitude of details, creating a sense of stillness. This…
This 1829 study offers a panoramic view of a settlement nestled against a rising hillside, framed by a backdrop of distant mountains. The composition focuses on the relationship between the built environment and the surrounding natural elements. A large body of water, likely a river or a lake, encircles the town, providing a sense of containment and tranquility. Small vessels are scattered across the water's surface, while figures and horses…
The canvas captures a hillside overlooking a river, where the earth meets the sky in a soft, atmospheric meeting. Mountains rise in the distance, their peaks softened by a pale haze that blurs the line between stone and air. Below, the water flows through the valley, a silver ribbon cutting through the greenery. Trees are scattered across the slope, their forms anchored in the soil but reaching toward the light.…
Craigmillar Castle from Dalkeith Road1826 · Scottish National Gallery
12
Alexander Mitchell, Dalkeith1884 · Midlothian Council Library Headquarters
13
Richard Gay Somerset (1848–1928), RCA1890
14
Harry Young of Cleish, Convenor of Kinross shire1890
15
Reverend James Muir1891 · The Stirling Smith Art Gallery - Museum
16
Harry Young of Cleish, Convenor of Kinross shire1890 · Perth And Kinross Council
17
Samuel Lawrence, DD1896
18
Janet Webster (1819–1908), Mother of Sir Francis Webster1893 · The Webster Memorial Theatre
19
Lord Provost David MacGregor (1840–1908)1904
20
The Tay near Kinfauns
21
Backs to the Wall, 19181929
22
View near Edinburgh1828 · Royal Scottish Academy of Art - Architecture
23
John T. Stocks, Provost of Kirkcaldy
24
John T. Stocks, Provost of Kirkcaldy (1893–1896)
25
John Shiress Will, Esq., QCBrechin Mechanics' Institute
26
Lord Provost David MacGregor1904 · Perth And Kinross Council
27
Mrs William Ferguson (d.1881)1881 · Mintlaw Discovery Centre
28
The Thin Red Line1881 · Scottish National 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 Robert Gibb | Slike iz ovog popisa |
|---|---|---|---|
 Royal Scottish Academy of Art - Architecture |
Edinburgh | 3 | Borthwick Castle, The Sea King, View near Edinburgh |
 Scottish National Gallery |
Edinburgh | 3 | Portrait of a Girl, Craigmillar Castle from Dalkeith Road, The Thin Red Line |
 The Webster Memorial Theatre |
Arbroath | 2 | Sir Francis Webster, Janet Webster (1819–1908), Mother of Sir Francis Webster |
 Perth And Kinross Council |
Perth | 2 | Harry Young of Cleish, Convenor of Kinross shire, Lord Provost David MacGregor |
 The Black Watch Castle - Museum |
Perth | 1 | Comrades, the 42nd Highlanders (copy of an earlier painting by the artist) |
 Skotska nacionalna galerija portreta |
Edinburgh | 1 | Rev. James Morison, 1816 - 1893 |
 Midlothian Council Library Headquarters |
Leith | 1 | Alexander Mitchell, Dalkeith |
 The Stirling Smith Art Gallery - Museum |
Stirling | 1 | Reverend James Muir |
Odaberite desetljeće kako biste vidjeli original koji ga definira.
In this oil painting on canvas, Robert Gibb presents a large-scale study of a bearded warrior. Created about 1883, The Sea King captures a figure seated upon a collection of furs and draped fabric. The subject gazes toward the ocean, his posture suggesting a moment of quiet contemplation or perhaps a heavy sense of melancholy. The composition places the weight of the scene upon this central figure, whose presence dominates…
The painting is titled Comrades, the 42nd Highlanders (copy of an earlier painting by the artist) and was created by the artist Robert Gibb. This work is a historical representation of the 42nd Highlanders during the Crimean War. The piece is dated about 1894.
In the grand tapestry of military art, few moments resonate with as much visceral tension as Robert Gibb’s 1903 masterpiece, Closing the Gates at Hougoumont, 1815. This oil on canvas is not merely a depiction of a historical event; it is an immersive descent into the chaotic heart of the Battle of Waterloo. As the viewer approaches this monumental work, they are immediately thrust into the smoke-filled atmosphere of a…
This portrait of Sir Francis Webster was executed by the Scottish artist Robert Gibb in 1912. It is a work that captures a specific moment of civic recognition, having been presented by Arbroath Liberals and Other Friends on 20 April 1912. This presentation was made in recognition of his eminent public services within Arbroath.
Zatvaranje kapija u Hougoumontu, 1815. (1903). Sljedeći su Comrades, the 42nd Highlanders (copy of an earlier painting by the artist) (1894) i Sir Francis Webster (1912).
58 godina: Zatvaranje kapija u Hougoumontu, 1815. datira iz 1903, a Robert Gibb je rođen/a 1845.
Zatvaranje kapija u Hougoumontu, 1815., Comrades, the 42nd Highlanders (copy of an earlier painting by the artist), Sir Francis Webster, Borthwick Castle, The Sea King, Rev. James Morison, 1816 - 1893, Rev. John Robson, Portrait of a Girl, Perth from Craigie (study) i View of Perth. Gornji rang prikazuje godinu i muzej za svako od njih.
Naš katalog sadrži 31 djela umjetnika Robert Gibb, datiranih od 1881 do 1929.
Većinom u Royal Scottish Academy of Art - Architecture (Edinburgh), Scottish National Gallery (Edinburgh) i The Webster Memorial Theatre (Arbroath). Gornja tablica muzeja navodi sve njih.
U 1890s: 7 od 28 djela na ovoj stranici nastalo je tada, od čega je Comrades, the 42nd Highlanders (copy of an earlier painting by the artist) Comrades, the 42nd Highlanders (copy of an earlier painting by the artist).
Na ovoj stranici najstarije djelo je iz Mrs William Ferguson (d.1881) (1881), a najnovije iz Backs to the Wall, 1918 (1929).
Man (8), Elderly man (4) i Book (4), kroz svih 28 djela na ovoj stranici.
Oil, za 8 od 28 djela na ovoj stranici.
Realism, sudeći po originalima na ovoj stranici.
Borthwick Castle, The Sea King i View near Edinburgh: Royal Scottish Academy of Art - Architecture, Edinburgh posjeduje 3 djela s ove stranice.
U maglovitim prostrenjima prekrivenim vrisom devetnaestog stoljeća u škotskom krajoliku, malo je umjetnika uspjelo tako majstorski uhvatiti duboku prepletenost povijesne veličine i prirodne atmosfere kao Robert Gibb. Rođen u Edinburghu 1845. godine, Gibb se pojavio kao ključna figura kasnog viktorijanskog britanske umjetnosti, slikar čiji je kist posjedovao jedinstvenu sposobnost premošćivanja jaza između klasične tradicije i rastuće emocionalne dubine tonalizma. Njegov životni rad služi kao vizualni kroničar njegove domovine, premještajući se neprimijetno iz grubih, monumentalnih razmjera Highlandsa u intimne, psihološke složenosti formalnog portretizma.
Gibbov umjetnički temelj postavljen je u prestižnim dvoranama Kraljevske škotske akademije u Edinburghu. Tijekom tih formativnih godina, urubio se u neoklasične tradicije koje su definirale to razdoblje, crpeći inspiraciju iz strukturiranih kompozicija i idealizirane ljepote koju su zagovarali majstori poput Benjamina Haydona i Georgea Frederica Wattsa. Ta rigorozna obuka u njemu je usadila doživotno poštovanje prema klasičnim oblicima, no Gibb nikada nije bio zadovoljan time da ostane samo učenik prošlosti. Posjedovao je urođeni nagon za istraživanjem prolaznih kvaliteta svjetlosti i zraka, nastojeći uhvatiti ne samo fizičku stvarnost scene, već i njezinu samu dušu.
Kako je njegova karijera napredovala, Gibbov stil prošao je kroz očaravajnu evoluciju, udaljavajući se od stroge akademske preciznosti prema izražajnijem, atmosferskom realizmu. Pronalazio je duboki odjek u Barbazonskoj školi, posebno u djelima Jean-Françoisa Milleta i Gustave'a Courbeta. Od ovih francuskih majstora preuzeo je naglasak na plein air slikanju i poštovanje prema monumentalnoj veličini prirode. Njegovi rani pejzaži često su odražavali tu grubu veličinu, prikazujući škotska jezera i planine s osjećajem težine i trajnosti koji je prisiljavao gledatelja na pažnju.
Međutim, kako je utjecaj impresionizma počeo strujati kroz britanski umjetnički svijet, Gibb je prešao prema tonalizmu. Ta stilska promjena označila je njegovo najzrelije razdoblje, obilježeno odstupanjem od oštrih, definiranih kontura u korist suptilnih gradacija boja i proganjajuće atmosferske magle. U tim kasnijim djelima, krajolik postaje eterično iskustvo; svjetlost ne osvjetljava samo subjekt, već kao da iz njega izvire. Kroz tu tehniku, Gibb je postigao osjećaj sfumato koji je omogućio da se granice između zemlje i neba rastavi, stvarajući platna prožeta hauntirajućom, poetskom kvalitetom.
Dok su njegovi pejzaži slavljeni zbog svoje atmosferske dubine, Gibbova reputacija jednako je utemeljena njegovim vještinama portretista. Posjedovao je iznimnu sposobnost prikazivanja likova istaknutih škotskih ličnosti uz tehničku preciznost i duboki psihološki uvid. Njegovi portreti pojedinaca kao što su Sir John Watson Gordon i Sir Daniel Macnee ističu se bogatim teksturama i osjećajem dostojanstvene prisutnosti, hvatajući karakter svojih modela kroz majstorsku kontrolu svjetla i sjene.
Osim tišine portretizma, Gibb je također postigao veliki uspjeh u prikazivanju dramatičnih povijesnih i vojnih scena. Njegov rad često je doticao teme nacionalnog identiteta i heroizma, što je najuočljivije prikazano u djelima kao što je The Thin Red Line. Te kompozicije omogućile su mu da spoji svoju vještinu narativnog slikarstva velikih razmjera s talentom za hvatanje pokreta i napetosti. Kroz ovaj raznolik korpus djela — od solemniteta portreta pravnog dužnika do epske razmjere bojnog polja — Robert Gibb osigurao je svoje mjesto u povijesti umjetnosti kao umjetnik koji je mogao prevesti trajnu snagu škotskog naslijeđa u delikatni, prolazni jezik svjetlosti.
