Thomas Barber portréja

A 33 legnevezesebb Thomas Barber festmény, egy galériaválaszték

Frissítve: november 2026 · rangsorolva népszerűségi pontszámunk alapján (minden mű keresései, látogatásai és megrendelései alapján) · 45 mű Thomas Barber alkotása a katalógusunkban

Röviden

Thomas Barber hagyatékából a leghíresebb alkotás Self Portrait (1841), amely a Nottingham városi Nottingham Castle Museum And Art Gallery gyűjteményében található. Röviddel ezután követik őket The Honourable Charles James Fox (1749–1806), MP (after Joshua Reynolds) (1784) és Francis James Curzon Mary Curzon, Later Mrs John Beaumont and Alfred Curzon (1812). Katalógusunkban 45 mű található Thomas Barber alkotótól; a galéria megőrizte a világ által leginkább csodált 33 darabot, melyeket a dátummal, a múzeummal és a történetükkel együtt mutatunk be.

1771 – 1843, Nottingham Neoclassicism A legtöbb mű: Nottingham Castle Museum And Art Gallery

Thomas Barber legjobb 10 festménye: a galéria válogatása

1
Self Portrait (1841) (1889) -ja Thomas Barber

Self Portrait

1841 · Oil · Nottingham Castle Museum And Art Gallery, Nottingham

In this 1841 work, we encounter the artist himself, captured in a moment of quiet introspection. The portrait presents a man dressed in the formal attire of the nineteenth century, wearing a dark coat, a crisp white collar, and a tie. A mustache defines his features, lending a sense of maturity and gravity to his expression. It is an intimate study of character, rendered with a precision that suggests a…

2
The Honourable Charles James Fox (1749–1806), MP (after Joshua Reynolds) (1784) (1889) -ja Thomas Barber

The Honourable Charles James Fox (1749–1806), MP (after Joshua Reynolds)

1784 · Oil On Canvas · National Trust, Chesterfield

The subject sits anchored in a sea of dark blues and deep browns. He is a man of middle age, his face etched with the quiet gravity of a life spent in the public eye. Light falls from the upper left, carving the contours of his brow and the sharp lines around his mouth. He holds books against his chest, his hands resting with a heavy, certain stillness. These volumes…

3
Francis James Curzon Mary Curzon, Later Mrs John Beaumont and Alfred Curzon (1812) (1889) -ja Thomas Barber

Francis James Curzon Mary Curzon, Later Mrs John Beaumont and Alfred Curzon

1812 · Oil On Canvas

The oil painting titled Francis James Curzon Mary Curzon, Later Mrs John Beaumont and Alfred Curzon was executed by the artist Thomas Barber the Elder. This work depicts three children: Alfred Curzon, Francis James Curzon, and Mary Curzon. These subjects are the children of the 2nd Baron Scarsdale and Félicité de Wattines, of Flanders. The figures are presented in a three-quarter length portrait format.

4
Lady Caroline Gordon (1785–1866), Lady Chesham (1814) (1889) -ja Thomas Barber

Lady Caroline Gordon (1785–1866), Lady Chesham

1814 · Oil On Canvas · National Trust, Chesterfield

This oil on canvas portrait, executed in 1814, depicts Lady Caroline Gordon, later known as Lady Chesham. The subject is positioned in a seated posture, facing the viewer with a centered composition that emphasizes the head and upper torso. She is rendered against a dark, indistinct background that provides a high level of contrast to her pale skin and the light-colored fabric of her attire. The lighting is diffused from…

A Thomas Barber válogatás folytatódik: 11 – 33

11Francis James Curzon (1803–1851) Mary Curzon (1806–1868), Later Mrs John Beaumont and Alfred Curzon (1801–1850) (1812) (1889) -ja Thomas BarberFrancis James Curzon (1803–1851) Mary Curzon (1806–1868), Later Mrs John Beaumont and Alfred Curzon (1801–1850)1812 · National Trust 12Lady Anne Margaret Coke, Viscountess Anson (1815) (1889) -ja Thomas BarberLady Anne Margaret Coke, Viscountess Anson1815 · Shugborough Hall 13The Honourable Anne Margaret Anson, Countess of Rosebery (1815) (1889) -ja Thomas BarberThe Honourable Anne Margaret Anson, Countess of Rosebery1815 · Shugborough Hall 14General Sir George Anson (1769–1849) (1815) (1889) -ja Thomas BarberGeneral Sir George Anson (1769–1849)1815 · National Trust 15General Sir William Anson (1772–1847), 1st Bt (1815) (1889) -ja Thomas BarberGeneral Sir William Anson (1772–1847), 1st Bt1815 · National Trust 16Landscape near Bath (1835) (1889) -ja Thomas BarberLandscape near Bath1835 · National Gallery of Ireland 17Lord Denman (1779–1854) (1833) (1889) -ja Thomas BarberLord Denman (1779–1854)1833 · Nottingham Castle Museum And Art Gallery 18The Trent at Wilford (1840) (1889) -ja Thomas BarberThe Trent at Wilford1840 · Nottingham Castle Museum And Art Gallery 19The Reverend John Thomas Becher (1770–1848) (1889) -ja Thomas BarberThe Reverend John Thomas Becher (1770–1848) 20James Montgomery (1771–1854) (1889) -ja Thomas BarberJames Montgomery (1771–1854) 21Henry Kirke White, Poet (1889) -ja Thomas BarberHenry Kirke White, PoetNottingham Castle Museum And Art Gallery 22The Reverend Lewis Sneyd (c.1788–1858) (1889) -ja Thomas BarberThe Reverend Lewis Sneyd (c.1788–1858)National Trust 23Charles Compton Cavendish (1793–1863), 1st Lord Chesham (1889) -ja Thomas BarberCharles Compton Cavendish (1793–1863), 1st Lord CheshamNational Trust 24Cecil Brooke Boothby (1813–1883) (1889) -ja Thomas BarberCecil Brooke Boothby (1813–1883)National Trust 25Landscape with Cattle (1889) -ja Thomas BarberLandscape with CattleReading Public Museum 26Jonathan Dunn (1889) -ja Thomas BarberJonathan DunnNottingham Castle Museum And Art Gallery 27Joseph Murray (1737–1820) (1889) -ja Thomas BarberJoseph Murray (1737–1820) 28Reverend Richard Smith (1889) -ja Thomas BarberReverend Richard SmithNational Trust 29Benjamin Mayo (c.1779–1843), the Old General (1889) -ja Thomas BarberBenjamin Mayo (c.1779–1843), the Old General 30Sophia Baillie (1771–1843) (1889) -ja Thomas BarberSophia Baillie (1771–1843) 31David Love (1750–1827), Ballad Writer (1889) -ja Thomas BarberDavid Love (1750–1827), Ballad WriterNottingham Castle Museum And Art Gallery 32View across Nottingham Park with Lenton Priory in the Distance (1889) -ja Thomas BarberView across Nottingham Park with Lenton Priory in the DistanceNottingham Castle Museum And Art Gallery 33Cornelius Smelt (1748–1832), Lieutenant Governor of the Isle of Man (1805–1832) (1826) (1889) -ja Thomas BarberCornelius Smelt (1748–1832), Lieutenant Governor of the Isle of Man (1805–1832)1826 · Manx Museum

A témák, amelyek Thomas Barber figyelmét meghúzták

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

A műemlékek, amelyek Thomas Barber eredeti műveit őrzik

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

Múzeum Város Thomas Barber művei Ebből a listából származó festmények
Nottingham Castle Museum And Art Gallery, NottinghamNottingham Castle Museum And Art Gallery Nottingham 7 Self Portrait, Lord Denman (1779–1854), The Trent at Wilford
National Trust, ChesterfieldNational Trust Chesterfield 7 The Honourable Charles James Fox (1749–1806), MP (after Joshua Reynolds), Lady Caroline Gordon (1785–1866), Lady Chesham, Lady Harriet Cavendish (1785–1862), Countess Granville
National Trust, DerbyNational Trust Derby 2 Mrs Garnett (1724–1809), in the Marble Hall, Francis James Curzon (1803–1851) Mary Curzon (1806–1868), Later Mrs John Beaumont and Alfred Curzon (1801–1850)
Shugborough Hall, Stoke-on-TrentShugborough Hall Stoke-on-Trent 2 Lady Anne Margaret Coke, Viscountess Anson, The Honourable Anne Margaret Anson, Countess of Rosebery
National Trust, MilfordNational Trust Milford 2 General Sir George Anson (1769–1849), General Sir William Anson (1772–1847), 1st Bt
Sheffield City Art Galleries, SheffieldSheffield City Art Galleries Sheffield 1 James Montgomery
Royal College of Physicians of London, LondonRoyal College of Physicians of London London 1 Matthew Baillie
National Gallery of Ireland, DublinNational Gallery of Ireland Dublin 1 Landscape near Bath

Thomas Barber évtizede folgtva: az eredeti művek, amelyek meghatározzák az egyes korzakot

Művek évtizedenként

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

Gyűjtői kérdések Thomas Barber festményeivel kapcsolatban

Melyik művel a(z) Thomas Barber a leghíresebb?Fedje fel a választ

Self Portrait (1841), Nottingham Castle Museum And Art Gallery, Nottingham. Ezután The Honourable Charles James Fox (1749–1806), MP (after Joshua Reynolds) (1784) és Francis James Curzon Mary Curzon, Later Mrs John Beaumont and Alfred Curzon (1812) következik.

Hány éves volt Thomas Barber, amikor a Self Portrait készült?Fedje fel a választ

70 éves: Self Portrait 1841-ből származik, Thomas Barber pedig 1771-ben született.

Melyek a tíz leghíresebb Thomas Barber festmény?Fedje fel a választ

Self Portrait, The Honourable Charles James Fox (1749–1806), MP (after Joshua Reynolds), Francis James Curzon Mary Curzon, Later Mrs John Beaumont and Alfred Curzon, Lady Caroline Gordon (1785–1866), Lady Chesham, James Montgomery, Mrs Garnett, in the Marble Hall, Mrs Garnett (1724–1809), in the Marble Hall, Matthew Baillie, Matthew Baillie (1761–1823) és Lady Harriet Cavendish (1785–1862), Countess Granville. A fenti rangsor a művek évszamarát és a múzeumát jelzi.

Hány festményet hagyott hátra Thomas Barber?Fedje fel a választ

Katalógusunkban 45 mű található Thomas Barber alkotótól, 1784 és 1841 év közötti időszakból.

Mely múzeumokban állnak Thomas Barber remekművei?Fedje fel a választ

Leginkább Nottingham Castle Museum And Art Gallery (Nottingham), National Trust (Chesterfield) és National Trust (Derby) található. A fenti múzeumi táblázatban mindegyik felsorolásra került.

Mely években festette Thomas Barber leghíresebb műveit?Fedje fel a választ

1810s alatt: a jelen laphonon található 33 műből 8 készült ebben az időszakban, köztük Francis James Curzon Mary Curzon, Later Mrs John Beaumont and Alfred Curzon.

Mikszétek az első és az utolsó híres eredeti műve a(z) Thomas Barber alkotótól?Fedje fel a választ

Ezen az oldalon a leghitelesebb The Honourable Charles James Fox (1749–1806), MP (after Joshua Reynolds) (1784), a legutóbbi pedig Self Portrait (1841).

Milyen témaköröket választott leggyakrabban Thomas Barber?Fedje fel a választ

Portrait (4), Dignified (4) és Formal (4), a jelen oldalon található 33 műművészeti alkotás között.

Melyik technikát alkalmazta leggyakrabban Thomas Barber?Fedje fel a választ

Oil On Canvas, a jelen oldalon található 33 műből 3 darab esetén.

Mely művészeti irányba tartozik Thomas Barber?Fedje fel a választ

Neoclassicism, ezen az oldalon található eredetiek alapján.

Mely Thomas Barber művei láthatóak a Nottingham Castle Museum And Art Gallery kiállتításán?Fedje fel a választ

Self Portrait, Lord Denman (1779–1854) és The Trent at Wilford: a Nottingham Castle Museum And Art Gallery, Nottingham 7 művet őrzi ezen az oldalon.

Thomas Barber: életmű és életút

The Multifaceted Legacy of Thomas Barber

In the vibrant tapestry of the early nineteenth century, few figures embodied the intersection of military discipline and artistic refinement as uniquely as Thomas Barber. Known to many in his era as Barber Beaumont, this remarkable individual led a life that defied simple categorization. Born on December 21, 1774, in the heart of St Marylebone, London, Barber was far more than a mere painter; he was a British army officer, an author, a philanthropist, and a pioneer of miniature portraiture. His journey from the bustling streets of London to the service of royalty and the establishment of significant social institutions reflects a life driven by an unyielding ambition and a profound dedication to both aesthetic beauty and public service.

The artistic soul of Barber was nurtured through a rigorous classical education, which instilled in him a lifelong reverence for historical narrative and neoclassical ideals. Under the influential tutelage of Henry Kirke White, Barber developed a stylistic language characterized by meticulous detail and a dramatic use of light. This training allowed him to navigate the prestigious circles of the Royal Academy's aesthetic, where he mastered the ability to breathe life into both grand historical scenes and intimate portraits. His work often sought to capture the very essence of his subjects, blending the monumental scale of history painting with the delicate, emotive precision required for miniature portraiture.

Mastery of the Miniature and Royal Patronage

While his ambitions reached toward the epic, it was in the intimate realm of miniature painting that Barber achieved his most enduring acclaim. His ability to render the dignity and grace of the aristocracy within a small, exquisitely crafted frame made him a sought-after portraitist for the British elite. Most notably, his role as the miniature painter to the Duke of Clarence—who would later ascend the throne as King William IV—cemented his status within the highest echelons of society. Through these small-scale masterpieces, Barber did not merely record faces; he captured the social standing, character, and enduring legacy of a generation.

His portfolio serves as a window into the Neoclassical era, showcasing a range of subjects that highlight his technical versatility:

  • Lady Caroline Gordon: An 1814 oil portrait that stands as a testament to his ability to convey elegance and wealth through refined brushwork.
  • Henry Kirke White, Poet: A poignant neoclassical portrait that utilizes subtle expression and masterful oil techniques to evoke a sense of remembrance and intellectual status.
  • The Reverend John Thomas Becher: A later work from 1848 that demonstrates his command over dramatic lighting and meticulous detail, reflecting the dignified style of his mature period.

A Life of Service and Entrepreneurial Spirit

Beyond the studio and the battlefield, Barber’s life was defined by a remarkable entrepreneurial spirit and a commitment to social welfare. His experiences as an officer, which included service in South America, provided him with a worldly perspective that informed his later ventures in London. He was not content to remain solely within the realm of fine arts; he applied the same precision found in his paintings to the world of commerce and philanthropy. His involvement in founding insurance offices and his leadership roles in organizations such as the Royal Victoria Rifle Club and the Provident Institution reveal a man deeply invested in the stability and progress of British society.

Ultimately, the historical significance of Thomas Barber lies in this rare synthesis of talents. He was an artist who understood the weight of history, an officer who understood the necessity of order, and a businessman who understood the value of security. Though his name may sometimes be obscured by the alias Beaumont, his contribution to the visual and social fabric of the nineteenth century remains indelible. Through his canvases, we continue to witness the grace of a bygone era, preserved through the eyes of a man who mastered both the brush and the complexities of life itself.