Joseph Highmore portréja

A 100 legnevesebbebb Joseph Highmore festmény, mindegyik egyedistens

Frissítve: november 2026 · rangsorolva népszerűségi pontszámunk alapján (minden mű keresései, látogatásai és megrendelései alapján) · 152 mű Joseph Highmore alkotása a katalógusunkban

Röviden

Pamela fainting (1743) az a Joseph Highmore festmény, amely a legtöbb tekintetet felvonja; az eredeti mű a National Gallery of Victoria gyűjteményében található, Melbourne. Ezután a tekintet Self-portrait (1740) és Miss Hamilton (1735) elemre irányul. A Joseph Highmore 152 műve közül a katalógusunkban megtalálható 100 legnépesebb alkotás, melyeket az év, a múzeum és az örökévalóságának okai kísérnek.

1692 – 1780, London Rococo A legtöbb mű: National Portrait Gallery

A galéria szemével: Joseph Highmore legjobb 10 festménye

1
Pamela fainting (1743) (1889) -ja Joseph Highmore

Pamela fainting

1743 · Oil On Canvas · National Gallery of Victoria, Melbourne

Joseph Highmore painted Pamela fainting between 1743 and 1744. This oil on canvas captures a heavy, breathless moment of crisis. The scene draws its narrative from the novel Pamela, or Virtue Rewarded. It focuses on the immediate aftermath of a failed attempt at sexual violence, a moment where the air in the room seems to have vanished.

2
Self-portrait (1740) (1889) -ja Joseph Highmore

Self-portrait

1740 · Oil On Canvas · National Gallery of Victoria, Melbourne

Joseph Highmore’s Self-portrait, executed in oil on canvas, dates to about 1745-1747. The work presents the artist in a dual capacity, projecting the persona of both a professional artist and an educated gentleman. This careful construction of identity reflects the social aspirations of the mid-eighteenth century.

3
Miss Hamilton (1735) (1889) -ja Joseph Highmore

Miss Hamilton

1735 · Oil On Canvas · Detroit Institute of Arts, Detroit

Miss Hamilton is an oil on canvas portrait by the English artist Joseph Highmore. Created in 1735, this European painting captures a moment of quiet poise. Highmore, who lived from 1692 to 1780, was a significant figure in the development of British portraiture during the eighteenth century.

4
Mr. Oldham and his Friends (1750) (1889) -ja Joseph Highmore

Mr. Oldham and his Friends

1750 · Oil On Canvas · Tate Gallery, London

In the soft, amber glow of an imagined mid-eighteenth-century evening, Joseph Highmore’s “Mr. Oldham and his Friends” invites the viewer to step into a world of refined leisure and quiet intellectual intimacy. Painted in 1750, this masterpiece serves as a window into the heart of Georgian England, capturing a moment that transcends mere portraiture to become a celebration of social bond and shared experience. The composition centers on four gentlemen…

5
Portr. of a lady (1738) (1889) -ja Joseph Highmore

Portr. of a lady

1738 · Oil On Canvas

A young woman sits in a quiet, suspended moment, her gaze meeting the viewer with a calm and poised expression. She is framed against a dark, neutral background that pushes her figure forward, making her presence feel immediate and intimate. Her dark, curly hair is styled away from her face, revealing the soft contours of her skin. She wears a voluminous, satin-like gown that catches the light in a way…

6
Mrs. Freeman Flower (1747) (1889) -ja Joseph Highmore

Mrs. Freeman Flower

1747 · Oil On Canvas · Art Institute of Chicago, Chicago

This oil on canvas portrait, titled Mrs. Freeman Flower, was executed by Joseph Highmore in 1747. The work functions as a formal representation of the sitter, Mrs. Freeman Flower, capturing her likeness during the mid-eighteenth century. Highmore, a significant figure in English portraiture, utilized this composition to document the subject's presence and social standing.

Joseph Highmore híres festményei, 11 és 100 között

11Portrait of Major-General James Wolfe (1889) -ja Joseph HighmorePortrait of Major-General James Wolfe 12Pamela and Lady Davers (1889) -ja Joseph HighmorePamela and Lady DaversNational Gallery of Victoria 13Pamela preparing to go home (1889) -ja Joseph HighmorePamela preparing to go homeNational Gallery of Victoria 14Sir John Barnard (1889) -ja Joseph HighmoreSir John Barnard 15Mrs Elizabeth Birch And Her Daughter (1889) -ja Joseph HighmoreMrs Elizabeth Birch And Her DaughterFitzwilliam Museum 16Equestrian Portrait Of King George Ii (1889) -ja Joseph HighmoreEquestrian Portrait Of King George Ii 17Anne (1889) -ja Joseph HighmoreAnne 18Portrait Of A Lady (1889) -ja Joseph HighmorePortrait Of A Lady 19The Good Samaritan (1889) -ja Joseph HighmoreThe Good Samaritan 20Mr Matthew Bell (1889) -ja Joseph HighmoreMr Matthew Bell 21Sir Willoughby Aston And His Wife (1889) -ja Joseph HighmoreSir Willoughby Aston And His Wife 22Sackville Tufton (1889) -ja Joseph HighmoreSackville Tufton 23An Unknown Man In Black (1889) -ja Joseph HighmoreAn Unknown Man In BlackYale Center for British Art 24Samuel Richardson (1889) -ja Joseph HighmoreSamuel RichardsonNational Portrait Gallery 25Portrait Of Thomas Fermor (1889) -ja Joseph HighmorePortrait Of Thomas Fermor 26Portrait Of A Lady (1889) -ja Joseph HighmorePortrait Of A Lady 27Isaac Hawkins Browne (1889) -ja Joseph HighmoreIsaac Hawkins Browne 28Captain William Gordon (1889) -ja Joseph HighmoreCaptain William GordonNational Maritime Museum 29Portrait Of A Gentleman (1889) -ja Joseph HighmorePortrait Of A Gentleman 30King George Ii (1889) -ja Joseph HighmoreKing George Ii 31Painting of British general James Wolfe (1889) -ja Joseph HighmorePainting of British general James Wolfe 32Pamela Shows Mr Williams A Hiding Place For Their Letters (1889) -ja Joseph HighmorePamela Shows Mr Williams A Hiding Place For Their LettersFitzwilliam Museum 33Portrait Of A Boy (1889) -ja Joseph HighmorePortrait Of A Boy 34Thomas Ripley (1889) -ja Joseph HighmoreThomas Ripley 35William Fellowes Of Shotesham (1889) -ja Joseph HighmoreWilliam Fellowes Of Shotesham 36General James Wolfe (1889) -ja Joseph HighmoreGeneral James Wolfe 37Thomas Ripley (1889) -ja Joseph HighmoreThomas RipleyNational Portrait Gallery 38Francis Godolphin Iv (1889) -ja Joseph HighmoreFrancis Godolphin Iv 39Pettifer (1889) -ja Joseph HighmorePettifer 40James Jurin (1889) -ja Joseph HighmoreJames Jurin 41Portrait Of A Lady (1889) -ja Joseph HighmorePortrait Of A Lady 42Portrait Of A Woman (1889) -ja Joseph HighmorePortrait Of A Woman 43John Owen (1889) -ja Joseph HighmoreJohn Owen 44Edward Young (1889) -ja Joseph HighmoreEdward Young 45George Ii (1889) -ja Joseph HighmoreGeorge Ii 46Mr Oldham And His Guests (1889) -ja Joseph HighmoreMr Oldham And His GuestsTate Britain 47John Duncombe (1889) -ja Joseph HighmoreJohn Duncombe 48Andrew Bell (1889) -ja Joseph HighmoreAndrew Bell 49A Gentleman In A Brown Velvet Coat (1889) -ja Joseph HighmoreA Gentleman In A Brown Velvet Coat 50Peg Woffington (1889) -ja Joseph HighmorePeg Woffington 51Four Men Seated At A Table (1889) -ja Joseph HighmoreFour Men Seated At A Table 52Captain William Gordon (1889) -ja Joseph HighmoreCaptain William Gordon 53Peter Upcher Of Sudbury, Jp (1889) -ja Joseph HighmorePeter Upcher Of Sudbury, Jp 54Arthur Onslow (1889) -ja Joseph HighmoreArthur Onslow 55Lancelot Blackburne (1889) -ja Joseph HighmoreLancelot Blackburne 56Jane Colchester (1889) -ja Joseph HighmoreJane Colchester 57Portrait Of A Man (1889) -ja Joseph HighmorePortrait Of A Man 58Samuel Richardson (1889) -ja Joseph HighmoreSamuel RichardsonNational Portrait Gallery 59Anne Furness (1889) -ja Joseph HighmoreAnne Furness 60William Wrightson (1889) -ja Joseph HighmoreWilliam Wrightson 61John Montagu (1889) -ja Joseph HighmoreJohn MontaguNational Portrait Gallery 62Rear Admiral Charles Fanshawe (1889) -ja Joseph HighmoreRear Admiral Charles Fanshawe 63Mrs Dulcibella Bell (1889) -ja Joseph HighmoreMrs Dulcibella Bell 64Abraham De Moivre (1889) -ja Joseph HighmoreAbraham De Moivre 65Frances Maria Fountayne (1889) -ja Joseph HighmoreFrances Maria Fountayne 66Sarah Morse (1889) -ja Joseph HighmoreSarah Morse 67William Duncombe (1889) -ja Joseph HighmoreWilliam Duncombe 68Miss Taylor (1889) -ja Joseph HighmoreMiss Taylor 69John St John (1889) -ja Joseph HighmoreJohn St John 70Portrait Of A Man (1889) -ja Joseph HighmorePortrait Of A ManBirmingham Museum and Art Gallery 71Pamela Is Married (1889) -ja Joseph HighmorePamela Is Married 72Portrait Of A Lady (1889) -ja Joseph HighmorePortrait Of A LadyDulwich Picture Gallery 73Charles Penruddocke (1889) -ja Joseph HighmoreCharles PenruddockeYale Center for British Art 74Admiral George Byng (1889) -ja Joseph HighmoreAdmiral George Byng 75Isaac Hawkins Browne (1889) -ja Joseph HighmoreIsaac Hawkins Browne 76The Children Of Hughes Minet (1889) -ja Joseph HighmoreThe Children Of Hughes Minet 77Portrait Of A Divine, Laurence Degge (1889) -ja Joseph HighmorePortrait Of A Divine, Laurence Degge 78John Collett (1889) -ja Joseph HighmoreJohn Collett 79Elizabeth Carter (1889) -ja Joseph HighmoreElizabeth Carter 80David Le Marchand, (1889) -ja Joseph HighmoreDavid Le Marchand,National Portrait Gallery 81Anthony highmore (1889) -ja Joseph HighmoreAnthony highmore 82Mr B. Finds Pamela Writing (1889) -ja Joseph HighmoreMr B. Finds Pamela Writing 83Morgan Morse (1889) -ja Joseph HighmoreMorgan Morse 84John Smith (1889) -ja Joseph HighmoreJohn Smith 85Elizabeth Lee (1889) -ja Joseph HighmoreElizabeth Lee 86Reverend Joseph Avery Of Kirby-le-soken (1889) -ja Joseph HighmoreReverend Joseph Avery Of Kirby-le-soken 87Reverend Edmund Tew (1889) -ja Joseph HighmoreReverend Edmund Tew 88Mary Alford, Nee Standish (1889) -ja Joseph HighmoreMary Alford, Nee Standish 89Thomas Pennant (1889) -ja Joseph HighmoreThomas PennantNational Library of Wales 90Robert Wynne (1889) -ja Joseph HighmoreRobert WynneNational Library of Wales 91Portrait Of A Lady Of The Fanshawe Family (1889) -ja Joseph HighmorePortrait Of A Lady Of The Fanshawe FamilyNetherlands Open Air Museum 92Henry Stebbing (1889) -ja Joseph HighmoreHenry StebbingNational Portrait Gallery 93Called 'john Beard (1889) -ja Joseph HighmoreCalled 'john Beard 94William Wilberforce (1889) -ja Joseph HighmoreWilliam Wilberforce 95Francis Swanton (1889) -ja Joseph HighmoreFrancis Swanton 96Elizabeth Rooper (1889) -ja Joseph HighmoreElizabeth RooperCanons Ashby House 97An Unknown Man (1889) -ja Joseph HighmoreAn Unknown ManYale Center for British Art 98Issac Welman (1889) -ja Joseph HighmoreIssac WelmanUpton House 99Portrait Of A Man (1889) -ja Joseph HighmorePortrait Of A Man 100John Whitehall Of Furnivall's Inn (1889) -ja Joseph HighmoreJohn Whitehall Of Furnivall's InnBirmingham Museum and Art Gallery

Joseph Highmore híres festményei, korszakonként

A témák, amelyek Joseph Highmore figyelmét meghúzták

A négy leggyakorobban előforduló téma ebben az eredeti művekben, mindegyik a legkiválóbb példájával.

A műemlékek, amelyek Joseph Highmore eredeti műveit őrzik

A 8 olyan múzeum, amely a legtöbb ezen az oldalon szereplő festményet őrzi.

Múzeum Város Joseph Highmore művei Ebből a listából származó festmények
National Portrait Gallery, LondonNational Portrait Gallery London 6 Samuel Richardson, Thomas Ripley, Samuel Richardson
National Gallery of Victoria, MelbourneNational Gallery of Victoria Melbourne 4 Pamela fainting, Self-portrait, Pamela and Lady Davers
Yale Center for British Art, New HavenYale Center for British Art New Haven 11 An Unknown Man In Black, Charles Penruddocke, An Unknown Man
Fitzwilliam MuseumFitzwilliam Museum 5 Mrs Elizabeth Birch And Her Daughter, Pamela Shows Mr Williams A Hiding Place For Their Letters
Birmingham Museum and Art Gallery, BirminghamBirmingham Museum and Art Gallery Birmingham 2 Portrait Of A Man, John Whitehall Of Furnivall's Inn
National Library of Wales, AberystwythNational Library of Wales Aberystwyth 2 Thomas Pennant, Robert Wynne
Art Institute of Chicago, ChicagoArt Institute of Chicago Chicago 2 Mrs. Freeman Flower
Tate Britain, LondonTate Britain London 2 Mr Oldham And His Guests

Joseph Highmore évtizedekig: egy egyedi eredeti mű minden évtizedben

Művek évtizedenként

Váassz ki egy évtizedet, hogy megnézhesd az azt meghatározó eredetiműveket.

Joseph Highmore festményei: kérdések a galériának

Mi a leghíresebb műve Joseph Highmorenek?Fedje fel a választ

Pamela fainting (1743), National Gallery of Victoria, Melbourne. Ezután Self-portrait (1740) és Miss Hamilton (1735) következik.

Milyen életkorában alkotta meg Joseph Highmore a(z) Pamela fainting műszt?Fedje fel a választ

51 éves: Pamela fainting 1743-ből származik, Joseph Highmore pedig 1692-ben született.

Melyik tíz festménye Joseph Highmore a leghíresebb?Fedje fel a választ

Pamela fainting, Self-portrait, Miss Hamilton, Mr. Oldham and his Friends, Portr. of a lady, Mrs. Freeman Flower, The Family Of E. Lancelot Lee, Portrait of a Lady, Portrait Of Queen Caroline Of Ansbach és James Wigley Of Scraptoft Hall. A fenti rangsor a művek évszamarát és a múzeumát jelzi.

Hány mű alkotása ismert Joseph Highmore nevében?Fedje fel a választ

Katalógusunkban 152 mű található Joseph Highmore alkotótól, 1735 és 1750 év közötti időszakból.

Hol tekinthetők meg a leghíresebb Joseph Highmore eredetijeit?Fedje fel a választ

Leginkább National Portrait Gallery (London), National Gallery of Victoria (Melbourne) és Yale Center for British Art (New Haven) található. A fenti múzeumi táblázatban mindegyik felsorolásra került.

Melyik időszakban alkotta Joseph Highmore a leghíresebb festményeit?Fedje fel a választ

1730s alatt: a jelen laphonon található 100 műből 3 készült ebben az időszakban, köztük Miss Hamilton.

Melyik híres Joseph Highmore festmény a legkorábbi, és melyik a legutóbb készült?Fedje fel a választ

Ezen az oldalon a leghitelesebb Miss Hamilton (1735), a legutóbbi pedig Mr. Oldham and his Friends (1750).

Milyen témakörket kedvelt Joseph Highmore?Fedje fel a választ

18th century (15), Portrait (14) és Portraits (12), a jelen oldalon található 100 műművészeti alkotás között.

Milyen anyagokkal festett leggyakrabban Joseph Highmore?Fedje fel a választ

Oil On Canvas, a jelen oldalon található 100 műből 6 darab esetén.

Mely művészeti irányba tartozik Joseph Highmore műve?Fedje fel a választ

Rococo, ezen az oldalon található eredetiek alapján.

Milyen Joseph Highmore eredeti műveket láthatok a National Portrait Gallery kiállításaiban?Fedje fel a választ

Samuel Richardson, Thomas Ripley és Samuel Richardson: a National Portrait Gallery, London 6 művet őrzi ezen az oldalon.

Joseph Highmore: a művész portréja

A Life Dedicated to Likeness and Narrative

Joseph Highmore, born in London in 1692, emerged as a pivotal figure within the evolving landscape of 18th-century English art. His journey began amidst familial expectations geared towards a legal career—a path he ultimately abandoned at seventeen to wholeheartedly pursue his artistic inclinations. This decisive turn led him to the studios of Sir Godfrey Kneller and anatomy lectures delivered by William Cheselden, foundational experiences that shaped his technical skill and profound understanding of the human form. Initially influenced by the grand Baroque tradition exemplified by Kneller, Highmore’s style would gradually embrace the more delicate aesthetics of the Rococo period, a shift reflective of broader cultural currents sweeping across Europe. He wasn't merely a painter; he was a keen observer of society, and his canvases became mirrors reflecting the lives, manners, and moral concerns of Georgian England.

Early Influences and Artistic Training

Highmore’s formative years were marked by rigorous artistic training—a cornerstone of his enduring success. Recognizing the importance of anatomical accuracy, he attended William Cheselden's anatomy lectures at University College London, gaining invaluable insight into human musculature and skeletal structure. This knowledge directly informed his meticulous rendering of figures in portraits and genre scenes alike. Simultaneously, he honed his skills under Sir Godfrey Kneller’s tutelage at Kneller’s Academy, absorbing the Baroque master’s techniques for capturing dramatic lighting and conveying psychological depth—a style that would initially dominate his oeuvre. Kneller's emphasis on realism and theatrical presentation instilled in Highmore a commitment to portraying subjects with profound sensitivity and conviction. These influences combined to establish him as one of the foremost portraitists of his era, securing commissions from prominent figures across England.

Royal Patronage and Artistic Flourishing

Highmore’s early career benefited significantly from royal patronage—a circumstance that propelled him to artistic prominence during the 1730s and 40s. King George II recognized Highmore's talent and commissioned numerous portraits, including a striking depiction of General James Wolfe—a monumental achievement demonstrating not only his technical prowess but also an exceptional ability to capture character and presence. This patronage afforded him access to unparalleled resources and opportunities for experimentation, allowing him to refine his artistic vision and solidify his reputation as England’s most celebrated portraitist. Furthermore, Highmore embarked on a transformative journey through the Netherlands and France between 1732 and 1734—a formative experience that exposed him to the masterpieces of Rubens and van Dyck. These encounters broadened his artistic horizons and instilled in him an appreciation for classical ideals of beauty and composition.

The Rococo Style and Genre Painting

As the Baroque tradition waned, Highmore skillfully adapted to evolving tastes within Georgian society—a hallmark of his enduring artistic vitality. He embraced the Rococo style, characterized by its graceful curves, pastel hues, and playful ornamentation—a stylistic choice that reflected the prevailing aesthetic sensibilities of the time. Unlike many artists who adhered rigidly to established conventions, Highmore demonstrated a remarkable versatility, venturing into genre painting alongside portraiture. His “conversation pieces”—group portraits depicting families or friends engaged in informal gatherings—became particularly beloved by his patrons, capturing the nuances of domestic life and social interaction with unparalleled subtlety. These works exemplify Highmore’s ability to convey emotion and psychological complexity through carefully crafted compositions and nuanced tonal palettes. Consider his depiction of *Mr Matthew Bell*, where the sitter's gaze conveys quiet dignity amidst an opulent interior—a testament to Highmore’s mastery of capturing human expression.

Legacy and Recognition

Highmore’s artistic legacy extends beyond his individual portraits; he profoundly influenced subsequent generations of painters. His meticulous anatomical studies established him as a pioneer in scientific illustration, furthering the burgeoning interest in natural history during the Enlightenment. Moreover, his commitment to portraying subjects with psychological depth—a hallmark of Rococo realism—inspired artists to explore the inner lives of their sitters and imbue their canvases with emotional resonance. He passed away peacefully in Canterbury in 1780 at the age of eighty-seven, leaving behind a substantial body of work that continues to captivate audiences today. Joseph Highmore’s enduring fame rests on his unparalleled skill as a portraitist—a testament to his dedication to artistic excellence and his profound understanding of human nature. His canvases stand as timeless reminders of Georgian elegance and intellectual curiosity—a legacy secured through the unwavering pursuit of beauty and truth.