James Peter Quinnの肖像画

ギャラリー厳選、James Peter Quinnによる最も有名な13の絵画

11月 2026 更新 · 当サイトの人気スコア(各作品の検索数、閲覧数、注文数)に基づくランキング · 15点の James Peter Quinnの作品がカタログにあります

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James Peter Quinnが遺したオリジナル作品の中で最も有名なものは、リバプールのウォーカー・アート・ギャラリーに収蔵されているA Japanese Lady (1914)です。 それに次いで、Lillias Hamilton (1858–1925), Physician (1924)とLIEUTENANT R.G. COMBE, THE VICTORIA CROSS (1910)が続きます。 James Peter Quinnによる15点の作品をカタログに掲載しています。当ギャラリーでは、世界が称賛する13点を選定し、制作年、所蔵美術館、そしてその背景にある物語とともにご紹介しています。

1869 – 1951, Melbourne 最多収蔵館: Canadian War Museum

James Peter Quinnの代表作10選:ギャラリー厳選の作品集

1
A Japanese Lady (1914) による James Peter Quinn

A Japanese Lady

1914 · Oil On Canvas · ウォーカー・アート・ギャラリー, リバプール

A Japanese Lady is a portrait executed by James Peter Quinn in 1914. The work focuses on a woman characterized by her dark hair and traditional Asian attire. Quinn, an Australian portraitist born in Melbourne, established a significant presence in the art world through his academic training in Paris and his later service as an official war artist.

2
Lillias Hamilton (1858–1925), Physician (1924) による James Peter Quinn

Lillias Hamilton (1858–1925), Physician

1924 · Oil

The woman stands before us, draped in a heavy red cape that commands the space around her. She holds her hands clasped together, a gesture of quiet composure that suggests a mind accustomed to discipline and steady thought. Her attire, formal and purposeful, hints at a life lived within the rigorous structures of academia or the demanding precision of medicine. There is a stillness in her posture, yet the way…

3
LIEUTENANT R.G. COMBE, THE VICTORIA CROSS (1910) による James Peter Quinn

LIEUTENANT R.G. COMBE, THE VICTORIA CROSS

1910 · Oil · Canadian War Museum, オタワ

The canvas holds a man of quiet weight. Lieutenant R.G. Combe sits in a three-quarter profile, his gaze directed toward an unseen point to the left. He wears a military tunic of deep olive green, the fabric rendered with thick, impasto strokes that suggest the heavy texture of wool. Light falls from the upper left, carving the contours of his face and casting soft, directional shadows that define the bridge…

4
LIEUTENANT COLONEL W.A. BISHOP (1910) による James Peter Quinn

LIEUTENANT COLONEL W.A. BISHOP

1910 · Oil On Canvas · Canadian War Museum, オタワ

In the portrait LIEUTENANT COLONEL W.A. BISHOP, James Peter Quinn presents a three-quarter length depiction of the military officer. The subject is positioned slightly off-center against a dark, indeterminate background that lacks specific environmental detail. This compositional choice focuses the viewer's attention entirely on the sitter and his attire. The officer is rendered in full military regalia, which includes visible medals, insignia, and a cross-belt. The arrangement of these elements…

5
Major Okill Massey Learmonth (1918) による James Peter Quinn

Major Okill Massey Learmonth

1918 · Oil On Canvas · Canadian War Museum, オタワ

The gaze of Major Okill Massey Learmonth meets the viewer through this formal oil portrait by the Australian portrait painter James Peter Quinn. Painted about 1918, the work captures a man defined by his service and the weight of his command. Learmonth holds the rank of acting Major in the 2nd (Eastern Ontario) Battalion of the Canadian Expeditionary Force, a position that carries a heavy sense of duty within the…

6
William Self Weeks (1934) による James Peter Quinn

William Self Weeks

1934 · Oil On Canvas

In this 1934 portrait, we find ourselves in the presence of William Self Weeks, captured in a moment of quiet, seated contemplation. The subject occupies the center of the frame, his presence established by a dark, formal suit and a waistcoat that suggests a life of significant standing. He sits within a dark wooden chair, his hands resting with a certain weight, one holding a folded piece of paper that…

James Peter Quinnのセレクションが続きます、11から13まで

James Peter Quinnが心を惹かれた主題

これらのオリジナル作品に繰り返し描かれている4つの主題と、それぞれの最高傑作。

James Peter Quinnの原画を所蔵する美術館

このページに掲載されている絵画を最も多く所蔵している 5 の美術館

美術館 都市 James Peter Quinnの作品 このリストの絵画
Canadian War Museum, オタワCanadian War Museum オタワ 3 LIEUTENANT R.G. COMBE, THE VICTORIA CROSS, LIEUTENANT COLONEL W.A. BISHOP, Major Okill Massey Learmonth
アートギャラリー・オブ・ニューサウスウェルス, シドニーアートギャラリー・オブ・ニューサウスウェルス シドニー 2 George Bell (artist and critic), The rendezvous
ウォーカー・アート・ギャラリー, リバプールウォーカー・アート・ギャラリー リバプール 1 A Japanese Lady
Government Art Collection, ロンドンGovernment Art Collection ロンドン 1 Arthur, Duke of Connaught and Strathearn (1850–1942) (copy after John Singer Sargent)
The National Trust For Scotland, フォレスThe National Trust For Scotland フォレス 1 Fish Market at Étaples, France

James Peter Quinnの年代別名作:各時代を象徴するオリジナル作品

年代別作品数

その時代を象徴する名作を見るために、年代を選択してください。

James Peter Quinnの絵画に関するコレクターからの質問

James Peter Quinnの代表作は何ですか?答えを見る

A Japanese Lady (1914)(ウォーカー・アート・ギャラリー, リバプール)。次いでLillias Hamilton (1858–1925), Physician (1924)、LIEUTENANT R.G. COMBE, THE VICTORIA CROSS (1910)が続きます。

A Japanese Ladyが制作されたとき、James Peter Quinnは何歳でしたか?答えを見る

45歳:A Japanese Ladyは1914年の作品で、James Peter Quinnの生年は1869年です。

James Peter Quinnの最も有名な10作品とは?答えを見る

A Japanese Lady, Lillias Hamilton (1858–1925), Physician, LIEUTENANT R.G. COMBE, THE VICTORIA CROSS, LIEUTENANT COLONEL W.A. BISHOP, Major Okill Massey Learmonth, William Self Weeks, George Bell (artist and critic), C. J. Bowen Cooke, London and North Western Railway, Dr Robert Aitken (1869–1951) と Arthur (1850–1942), Duke of Connaught, President of the Bible Society (copy of John Singer Sargent)。上記のランキングには、それぞれの制作年と所蔵美術館が記載されています。

James Peter Quinnが遺した作品数は?答えを見る

当カタログには、1910年から1939年にかけて制作されたJames Peter Quinnによる15点の作品が収められています。

James Peter Quinnの名作は、どの美術館に収蔵されていますか?答えを見る

主にCanadian War Museum (オタワ), アートギャラリー・オブ・ニューサウスウェルス (シドニー) と ウォーカー・アート・ギャラリー (リバプール)に所蔵されています。上記の美術館一覧にすべて記載されています。

James Peter Quinnが最も有名な作品を多く描いたのは何年ですか?答えを見る

1930s年:このページにある全13作品のうち、5作品がその時期に制作されました。そのうちWilliam Self Weeks作品が含まれます。

James Peter Quinnによる最初と最後の代表的なオリジナル作品は何ですか?答えを見る

このページでは、最も古い作品はLIEUTENANT R.G. COMBE, THE VICTORIA CROSS (1910)、最新の作品はGeorge Bell (artist and critic) (1939)です。

James Peter Quinn が最も多く描いた主題は何ですか?答えを見る

このページに掲載されている13点の作品におけるMan (5), Chair (3) と Portrait (3)

James Peter Quinn が最も多く使用した技法は何ですか?答えを見る

このページに掲載されている全13作品のうち、4作品のOil On Canvas

Canadian War MuseumにはどのJames Peter Quinnの作品が展示されていますか?答えを見る

LIEUTENANT R.G. COMBE, THE VICTORIA CROSS, LIEUTENANT COLONEL W.A. BISHOP と Major Okill Massey Learmonth:Canadian War Museum, オタワには、このページに掲載されている作品のうち3点が所蔵されています。

James Peter Quinn:生涯と作品

Early Life and Artistic Foundations

James Peter Quinn, born in Melbourne, Australia, in 1869, emerged as a significant figure in Australian portraiture at the turn of the twentieth century. His artistic journey began with formative studies under Frederick McCubbin at the National Gallery of Victoria Art School, laying a foundation steeped in the traditions of Australian landscape painting. This early exposure was broadened by tutelage from George Folingsby and Bernard Hall, further refining his skills before he embarked on an ambitious period of study in Paris between 1893 and 1901. At the Académie Julian and École des Beaux-Arts, under the guidance of Jean Paul Laurens, Quinn absorbed the techniques and aesthetic sensibilities of European academic art—a crucial step that would shape his distinctive style. His time at the Etaples art colony in northern France proved particularly influential, fostering camaraderie with fellow Australian artists like Rupert Bunny and Hilda Rix Nicholas, and exposing him to a vibrant artistic community.

The Rise of a Portraitist

By 1904, Quinn had firmly established himself as a highly sought-after portrait painter. His work resonated with an audience captivated by his ability to capture not merely likenesses but the very essence of his sitters. Exhibiting at the prestigious Royal Academy of Arts signaled his arrival on the international art scene. The recognition he received in 1912, with an honourable mention for *Mère et Fils* (a portrait of his wife and son) at the Salon in Paris, further cemented his reputation. This success led to a series of commissions from prominent figures—Joseph Chamberlain, the Duchess of York, and even the Duke of Windsor all entrusted their portraits to Quinn’s skilled hand. He possessed an innate talent for conveying social status and personality through meticulous detail and subtle nuances of expression.

Wartime Service and the Portrait of Monash

The outbreak of World War I brought a new dimension to Quinn's career, as he was appointed official war artist for the First AIF. While tasked with documenting the conflict, his focus shifted towards portraying the officers serving in France. This period proved fraught with challenges, marked by friction with authorities and fellow artists—a testament to his independent spirit and uncompromising artistic vision. However, it also yielded one of his most enduring masterpieces: the portrait of General Sir John Monash, Commander-in-Chief of the Australian Corps. Monash, a pivotal figure in the Allied victory at Amiens in 1918, became an iconic subject for Quinn. The resulting portrait, celebrated for its powerful depiction of leadership and integrity, remained within the Monash-Bennett family for decades before being gifted to the National Portrait Gallery of Australia in Canberra. It served as the model for the prestigious Monash Medal, awarded annually to Australians who demonstrate exceptional service to their community.

Later Years and Artistic Legacy

Following his wartime experiences, Quinn continued his work with Canadian War Records before returning to Australia in December 1935 after the tragic loss of his son René. Back on Australian soil, he rejoined the Victorian Artists Society, even serving as its president for a remarkable twelve years. He also became a founding member of the Australian Academy of Art, an organisation established by Robert Menzies that championed traditional artistic values. Despite his conservative affiliations, Quinn’s openness to modern art often led to public confrontations and debates—underscoring his complex relationship with the evolving art world. Throughout his later years, he continued to exhibit his paintings and impart his knowledge as a teacher at the National Gallery of Victoria Art School. A commemorative exhibition in 1980, curated by Alison Fraser, brought renewed attention to his portraiture, rescuing it from relative obscurity and solidifying his place in Australian art history. Quinn’s legacy lies not only in his masterful portraits but also in his ability to capture the spirit of an era—a testament to his enduring artistic vision and unwavering commitment to his craft.