Portret Mary Beale

Slike autora Mary Beale: Najpoznatijih 64 djela, iz perspektive galerije

Ažurirano Listopad 2026 · rangirano prema našoj ocjeni popularnosti (pretraživanja, posjeti i narudžbe za svako djelo) · 65 djela Mary Beale u našem katalogu

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Iz perspektive galerije, najpoznatije djelo umjetnika Mary Beale je King Charles II (1675), čiji se original nalazi u muzeju National Portrait Gallery, London. Bartholomew Beale (1663) i Portrait of a lady (1680) upotpunjuju triju koju svako oko prepoznaje. Od 65 djela umjetnika Mary Beale u našem katalogu, galerija u nastavku prikazuje 64 najpoznatijih, od kojih je svako originalno, s navedenom godinom nastanka, muzejom i onim što ga čini jedinstvenim.

1633 – 1699, Suffolk Baroque Najviše djela: National Portrait Gallery

Top 10 najpopularnijih djela umjetnika Mary Beale u galeriji

1
King Charles II (1675) od Mary Beale

King Charles II

1675 · Oil On Canvas · National Portrait Gallery, London

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) od 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…

3
Portrait of a lady (1680) od Mary Beale

Portrait of a lady

1680 · Oil On Canvas · National Gallery of Victoria, Melbourne

Mary Beale produced this oil on canvas, titled Portrait of a lady, around 1680. The work measures 76.5 × 63.7 cm. It represents a significant example of the artist's professional output during the late seventeenth century.

4
Viscountess Frances Hatton (1664) od 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) od Mary Beale

Bartholomew Beale, in Profile

1660 · Oil On Paper · Tate Britain, London

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) od 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) od 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) od 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) od 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.

Slike autora Mary Beale, rangirane od 11 do 64

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

Motivi koji su privukli pažnju Mary Beale

Četiri teme koje se najčešće ponavljaju u ovim originalima, svaka s svojim vrhunskim primjerom.

Muzeji koji čuvaju originalna djela umjetnika Mary Beale

8 muzeja u kojima se nalazi najviše djela s ove stranice.

Muzej Grad Djela autora Mary Beale Slike iz ovog popisa
National Portrait Gallery, LondonNational Portrait Gallery London 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)
Dulwich Picture Gallery, LondonDulwich Picture Gallery London 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, jedna prepoznatljiva slika po desetljeću

Djela po desetljećima

Odaberite desetljeće kako biste vidjeli original koji ga definira.

Slike umjetnika Mary Beale: odgovori galerije

Koja je najpoznatija slika umjetnika Mary Beale?Otkrijte odgovor

King Charles II (1675), National Portrait Gallery, London. Nakon njih slijede Bartholomew Beale (1663) i Portrait of a lady (1680).

Koliko je godina Mary Beale imao/la kada je dovršio/la King Charles II?Otkrijte odgovor

42 godina: King Charles II datira iz 1675, a Mary Beale je rođen/a 1633.

Koje su najpoznatije slike umjetnika Mary Beale?Otkrijte odgovor

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) i Self-Portrait Holding a Palette. Gornji rang prikazuje godinu i muzej za svako od njih.

Koliko je djela stvorio/la Mary Beale?Otkrijte odgovor

Naš katalog sadrži 65 djela umjetnika Mary Beale, datiranih od 1659 do 1697.

Gdje se nalaze najpoznatija originalna djela umjetnika Mary Beale?Otkrijte odgovor

Većinom u National Portrait Gallery (London), Antony House i Sutton House. Gornja tablica muzeja navodi sve njih.

Kada je Mary Beale stvorio svoje najpoznatije slike?Otkrijte odgovor

U 1680s: 10 od 64 djela na ovoj stranici nastalo je tada, od čega je Portrait of a lady Portrait of a lady.

Koja su najranija i najkasnija poznata djela umjetnika Mary Beale?Otkrijte odgovor

Na ovoj stranici najstarije djelo je iz Anna Maria, Countess of Shrewsbury (1642–1702) (1659), a najnovije iz Portrait of Nell Gwyl (1697).

Kojim se temama Mary Beale najčešće bavio/la?Otkrijte odgovor

Woman (13), Portraits (13) i Royalty (11), kroz svih 64 djela na ovoj stranici.

U kojem je mediju Mary Beale najviše radio/la?Otkrijte odgovor

Oil On Canvas, za 19 od 64 djela na ovoj stranici.

S kojim je umjetničkim pravcem Mary Beale povezan/a?Otkrijte odgovor

Baroque, sudeći po originalima na ovoj stranici.

Koje originale Mary Beale ima u svojoj kolekciji National Portrait Gallery?Otkrijte odgovor

King Charles II, Thomas Sydenham i Charles Beale the Elder: National Portrait Gallery, London posjeduje 6 djela s ove stranice.

Mary Beale: umjetnik

Život osvijetljen: Svijet Mary Beale

Rođena u tihoj sufokske rektoriji Barrowa krajem ožujka 1633., Mary Cradock je ušla u svijet gdje je umjetnička sklonost bila smatrana prihvatljivim hobiom, ali je profesija za ženu ostala uglavnom neistvorena teritorija. Njen otac, John Cradock, rektor koji je sam bio majstor slikarstva, pružio joj je početno ukorijenje u umjetnosti—sretan slučaj koji će oblikovati njenu sudbinu. Odrastajući blizu Bury St Edmunds, mlada Mary je vjerojatno susretala uglednike poput Peter Lelyja i Matthew Snellinga, upijajući utjecaje koji će kasnije cvjetati u njen stil jedinstven. Ova ranija izloženost rastućoj londonskoj umjetničkoj sceni posadila je sjeme ambicije u njoj, čak i dok su društvena očekivanja pokušavala ograničiti njezine talente na kućanski dom. Gubitak majke u deset godina donio je poteškoće, ali i jačanje veze s otcem te povećani fokus na umjetničke aktivnosti kao izvor utjehe i izražaja.

Navigacija konvencijama: Portretiranje i život u obitelji

Godine 1652., Mary se udaje za Charlesa Bealea, državnog službenika koji će postati ne samo njen muž, već i njen nezamjenjivi partner u navigiranju složenošću profesionalnog života. Njihova je bila neobična suradnja za tu eru—pravi savez izgrađen na međusobnom poštovanju i zajedničkoj ambiciji. Bealeovi su uspostavili dom i obitelj, dočekujući dvoje sinova, Bartholomewja i Charlesa Jr., istovremeno gradivši Maryinu umjetničku karijeru. Počevši s radom iz svojih rezidencija u Covent Gardenu, a kasnije u Albrooku, Hampshire, počela je primati narudžbe, polako osvajajući priznanje za svoj umijeće. Charles je igrao ključnu ulogu upravljajući praktičnostima njenog ateljea—priprema materijala, vođenje financija, pedantno bilježenje svakog detalja svog rada u njegovim sada već slavnim bilježnicama. Ovi zapisi nude neprocjenjiv uvid u umjetničku praksu 17. stoljeća i pružaju uvjerljiv dokaz o Maryinom rastućem uspjehu. Njezini portreti nisu bili samo sličnosti; bili su intimni studiji lika, hvatajući suštinu svojih modela s izvanrednim stupnjem realizma i osjetljivosti. Specijalizirala se na prikaz članova svoje obitelji, prijatelja, lokalne plemstva, aristokratije i sveštenika—raznolik klijentel koji govori o njenoj rastućoj reputaciji.

Barokna senzibilnost: Stil i tehnika

Umjetnički stil Mary Beale bio je duboko ukorijen u baroknom periodu, karakteriziran dramatičnim osvjetljenjem, bogatim bojama i oštrim pažnjom na detalje. Međutim, ona nije bila samo imitator trenutnih trendova. Razvila je jedinstven pristup koji ju je odvojio od savremenika poput Lelyja, natprinjujući svojim portretima toplinu i psihološku dubinu koje su odzvanjale kod njenih modela. Njezina tehnika uključivala je pažljivo zapažanje i pedantno izvođenje, ali i spremnost na eksperimentiranje s materijalima i metodama. Charlesove bilješke otkrivaju njeno inovativno istraživanje jeftinijih podloga za slikarstvo—poput lukovih vreća i posteljnog platna—demonstrirajući kako samostalnost tako i predanost pristupačnosti. Bila je posebno vještica u hvatanju tekstura tkanina i nijansi ljudskog izraza, stvarajući portrete koji su izgledali izuzetno živopisno. Njezini rukopisi o tehnika slikarstva iz 1663., s posebnim naglaskom na aprikasov nijansu, predstavljaju najraniji poznati učbeni tekst ženske slikarke na engleskom—svjedočanstvo njenog znanja, vještine i spremnosti dijeljenja svog stručnog znanja.

Prekoračivanje barijera: Naslijeđe i povijesna važnost

Karijera Mary Beale nije bila bez izazova. Kao umjetnica u Engleskoj iz 17. stoljeća, suočila se s društvenim ograničenjima koja su smanjivala mogućnosti profesionalnog napredovanja. Ipak, ona je uporno nastavila, uspostavljajući uspješnu praksu dok istovremeno ispunjava svoje uloge supruge i majke—značajan čin u eri kada su žene bile uglavnom izbačene iz javnog života. Njezina financijska samostalnost, ostvarena kroz umjetnost, bila je posebno zapanjujuća, dovodeći u pitanje konvencionalna očekivanja i pokazujući njenu poslovnu maštovitost. Dobila je pohvale od istaknutih umjetnika poput Sir Peter Lelyja i priznanje u savremenim pisanjima o britanskoj umjetnosti, čvršćavajući svoje mjesto unutar umjetničke zajednice. Bealeovo naslijeđe proteže se izvan njezinih pojedinačnih dostignuća; ona je otvorila put za buduće generacije ženskih umjetnica, dokazujući da talent ne poznaje spol. U posljednjim desetljećima, njezin rad doživio je zasluženo ponovno otkriće, s povećanom akademskom pažnjom i izložbama koje prikazuju njen zadivljujući doprinos engleskom portretiranju. Detaljni zapisi koje je vodio Charles Beale pružaju neprocjenjive uvide u umjetnički svijet, društvene običaje i svakodnevni život Engleske iz 17. stoljeća, osiguravajući da Maryina priča—i njena umjetnost—nastavlja inspirirati i osvajati publiku danas. Njezin rad je sačuvan na platformama poput OriginalUniqueArt, OriginalUniqueArt i drugih, garantujući njezino trajno prisustvo u kulturnom pejzažu.