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 · 6点の William Petherの作品がカタログにあります
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ギャラリーの視点では、William Petherの最も有名な作品はSelf-Portrait (1775)であり、その原画はトロントのオンタリオ美術館に展示されています。 David Garrick (1717–1779) (1776)とA Man with the Initials FMが加わり、誰もが一度は目にしたことのある至高のトリオが完成します。 当カタログに含まれるWilliam Petherの作品6点の中から、特に有名な6点を厳選してご紹介します。各作品は、制作年、所蔵美術館、そしてその作品ならではの魅力とともに、一点物のオリジナル作品として掲載されています。
The artist William Pether gazes out from his 1775 Self-Portrait, capturing a moment of quiet, intense focus. He presents himself not as a distant figure, but as a man deeply immersed in the act of creation. This intimate depiction shows the artist at work, his attention fixed upon the tools and boards that define his daily existence. The image functions as a profound symbol of his dedication to his profession,…
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 3 の美術館
| 美術館 | 都市 | William Petherの作品 | このリストの絵画 |
|---|---|---|---|
 National Trust |
Cambridge | 2 | Moonlit Lake, with a Ruined Abbey and a Cottage with an Illuminated Window, Moonlit River Scene with a Ruined Gothic Church, and a Stone Bridge with an Angler |
 オンタリオ美術館 |
トロント | 1 | Self-Portrait |
 メトロポリタン美術館 |
ニューヨーク | 1 | A Man with the Initials FM |
このページに掲載されているWilliam Petherの年代別オリジナル作品は、1775年から1776年までの2年間にわたります。ギャラリーでは、それぞれの年代における最も有名な作品をご紹介しています。
年代を選択して、当時のオリジナル作品を見る
The artist William Pether gazes out from his 1775 Self-Portrait, capturing a moment of quiet, intense focus. He presents himself not as a distant figure, but as a man deeply immersed in the act of creation. This intimate depiction shows the artist at work, his attention fixed upon the tools and boards that define his daily existence. The image functions as a profound symbol of his dedication to his profession,…
Self-Portrait (1775)（オンタリオ美術館, トロント）。次いでDavid Garrick (1717–1779) (1776)、A Man with the Initials FMが続きます。
37歳：Self-Portraitは1775年の作品で、William Petherの生年は1738年です。
当カタログには、1775年から1776年にかけて制作されたWilliam Petherによる6点の作品が収められています。
主にNational Trust (Cambridge), オンタリオ美術館 (トロント) と メトロポリタン美術館 (ニューヨーク)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。
このページでは、最も古い作品はSelf-Portrait (1775)、最新の作品はDavid Garrick (1717–1779) (1776)です。
Moonlit Lake, with a Ruined Abbey and a Cottage with an Illuminated Window と Moonlit River Scene with a Ruined Gothic Church, and a Stone Bridge with an Angler：National Trust, Cambridgeには、このページに掲載されている作品のうち2点が所蔵されています。
London, 1738. A child is born into a city of growing industry and shifting tastes. William Pether enters the world, eventually finding his way to the studio of Thomas Frye. This apprenticeship marks the beginning of a technical obsession with light. By 1761, he is no longer merely a student but a partner to Frye. The partnership provides a foundation for a career defined by the mezzotint—a method where darkness is carved away to reveal brilliance.
The work emerges from deep blacks. He does not simply draw; he excavates. His hands move across copper plates, translating the heavy shadows of Rembrandt and the dramatic, atmospheric lighting of Joseph Wright of Derby into print. In works like The Jewish Bride or A Lecture on the Orrery, the tension lies in the contrast. The light does not just sit on the surface; it seems to struggle against an encroaching gloom.
Beyond the heavy grain of the mezzotint, Pether’s hand finds a different scale. He moves from the broad, dark textures of large-scale engravings to the delicate precision of ivory. The transition is sharp. Here, the artist becomes a miniaturist, applying thin layers of paint to create intimate portraits that require a much closer gaze.
His reach extends even to the decorative arts. He applies his skill to the surface of porcelain, decorating objects with the same eye for detail found in his drawings. His repertoire is wide and occasionally unexpected:
The momentum of London life eventually gives way to a more fragmented existence. Pether moves between London, Nottingham, and Bristol. The prestige of being a foundation fellow of the Incorporated Society of Artists and a director of the same body remains, yet his physical presence drifts toward the edges of the capital. In Bristol, the grander ambitions of the engraver settle into the practicalities of a drawing-master and picture-cleaner.
The later years are marked by a quiet retreat from the center of the art world. He engages in engraving portraits of local figures like Edward Colston and Samuel Syer, working within the established traditions of his craft. By the time he reaches Montague Street in Bristol, the man who once captured the dramatic light of the masters has largely faded into obscurity. He dies in 1821, leaving behind a body of work that exists in the delicate balance between the deep shadows of the mezzotint and the fine lines of the miniature.
