Atnaujinta spalis 2026 · pagal mūsų populiarumumo koeficientą (paieškos, lankytojai ir užsakymai kiekvienam kūriniui) · 29 Frederick Richard Say darbai mūsų kataloge
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Galerijos akimais, garsiausias Frederick Richard Say tapas yra General Sir James Macdonell, 1781 - 1857. Soldier (1835), kurio originalas eksponuojamas Škotijos nacionalinė portretų galerija, Edinburgas. Sir William Webb Follet (1796–1845), MP for Exeter (1835–1845) (1835) ir Wilhelm I, Prince of Prussia, later King of Prussia and German Emperor (1797-1888) (1848) užbaia trio, kurį atpažįsta kiekvienas ž)/\ Iš 29 Frederick Richard Say darbų mūsų kataloge, galerija žemiau pristato 29 garsiausius – kiekvienas yra originalus, su nurodytu metais, muziejumi bei unikaliu aprašymu.
General Sir James Macdonell, 1781 - 1857. Soldier is an oil on canvas portrait attributed to Frederick Richard Say. The subject is General Sir James Macdonell, a Scottish officer of the British Army. This work dates to about 1830 – about 1840.
The room feels heavy with the weight of intellect and duty. Seated within the deep embrace of a dark green velvet armchair, Sir William Webb Follet rests in a state of profound contemplation. Light spills from the left, carving the contours of his face and catching the subtle textures of his hair. He holds a collection of papers, their edges crisp against his hands, suggesting a mind constantly engaged with…
A single gaze meets the viewer from the shadows of a heavy, crimson curtain. Wilhelm I, Prince of Prussia, sits in a moment of stillness, his presence defined by the rigid geometry of a military uniform. The dark navy fabric absorbs the light, while the metallic glint of epaulettes catches a sharp, directional glow from the upper left. Every detail of his face is rendered with a quiet, exacting precision,…
In this half-length portrait, we encounter Edward Ward, 3rd Viscount Bangor, captured in a moment of quiet contemplation. The subject is rendered with a striking sense of presence, his form emerging from a dark, indistinct background that focuses all attention on his character. He is dressed in formal attire, the sharp edges of his collar and the heavy folds of his jacket providing a structured contrast to the softer, more…
Frederick Richard Say captured the likeness of Edward Law, 1st Earl of Ellenborough, in this 1845 oil painting. The subject sits with the weight of a British Tory politician. His gaze holds the stillness of a man accustomed to the halls of power. He once held the presidency of the Board of Control on four separate occasions. The brush traces the steady presence of a statesman.
This oil portrait captures Henry Pelham Fiennes Pelham Clinton, 5th Duke of Newcastle under Lyne. Frederick Richard Say rendered the subject's likeness about 1848. The sitter's steady gaze meets the viewer from a position of quiet authority. He is a man of status, framed by the heavy shadows of a formal setting.
The figure emerges from a deep, dark void, anchored by the weight of heavy, textured robes. A single light source carves the contours of a face, catching the bridge of a nose and the steady gaze of a man held in a moment of quiet repose. The fabric of the garment ripples in thick, sculptural folds, suggesting a material of immense weight and luxury. Every line of the drapery leads…
Frances Talbot (1782–1857), Countess of Morley1830 · National Trust
12
Edmund Parker (1810–1864), 2nd Earl of Morley1830 · National Trust
13
Martha Buckworth, Mrs William Lyde Wiggett Chute, with Her Son, Chaloner William Chute (1838–1892)1834 · National Trust
14
William Lyde Wiggett Chute (1800–1879)1843 · National Trust
15
Sir Thomas Digby Aubrey (1782–1856)1848 · County Hall
16
Prince Albert (1819–1861), Consort to Queen Victoria1849 · Fitzwilliam Museum
17
Walter Francis Scott (1806–1884), 5th Duke of Buccleuch and 7th Duke of Queensberry, Lord Privy Seal1850 · Škotijos nacionalinė portretų galerija
18
Richard Bright1860
19
Thomas Musgrave (1788–1860), Fellow, Senior Bursar, Lord Almoner's Professor of Arabic and Senior Proctor1863
20
Ernest II (1818-93), Duke of Saxe-Coburg-GothaRoyal Collection
21
Charles Grey (1764–1845), 2nd Earl Grey
22
William Pitt (1773–1857), 1st Lord Amherst
23
Lady Lucy Graham (1793–1875), Countess of Powis
24
The Little Wanderers
25
Temple Hamilton Chase (b.1819), with His Brother DrummondThe Queen's College
26
Admiral Sir William Hargood (1726–1839)National Maritime Museum
27
Admiral Sir Robert Stopford (1768–1847)National Maritime Museum
28
The Right Honourable Sir Harry Verney of Steeple Claydon (1801–1894), Bt, MP, DL, Captain First Grenadier Guards
29
Edward Stanley, 14th Earl of Derby1844 · National Portrait Gallery
Ketverios temos, dažniausiai pasikrausto originaluose, kiekvienos su savo puikiausiu pavyzdžiu.
8 muziejai, kuriuose saugoma daugiausia šioje pusėje esamų paveikslų.
| Muzejaus | Miestas | Frederick Richard Say darbai | Šiojo sąrašo paveikslai |
|---|---|---|---|
 Royal Collection |
Londonas | 4 | Wilhelm I, Prince of Prussia, later King of Prussia and German Emperor (1797-1888), Prince Albert, Prince Consort (1819-1861), Ernest, Prince of Leiningen, with Prince Victor of Hohenlohe-Langenburg, Count Gleichen |
 National Portrait Gallery |
Londras | 3 | Edward Law, 1st Earl of Ellenborough, Henry Pelham Fiennes Pelham Clinton, 5th Duke of Newcastle under Lyne, Edward Stanley, 14th Earl of Derby |
 National Trust |
Plymouth | 3 | John Parker II (1772–1840), 1st Earl of Morley, Frances Talbot (1782–1857), Countess of Morley, Edmund Parker (1810–1864), 2nd Earl of Morley |
 Škotijos nacionalinė portretų galerija |
Edinburgas | 2 | General Sir James Macdonell, 1781 - 1857. Soldier, Walter Francis Scott (1806–1884), 5th Duke of Buccleuch and 7th Duke of Queensberry, Lord Privy Seal |
 National Trust |
Basingstoke | 2 | Martha Buckworth, Mrs William Lyde Wiggett Chute, with Her Son, Chaloner William Chute (1838–1892), William Lyde Wiggett Chute (1800–1879) |
 National Maritime Museum |
Londonas | 2 | Admiral Sir William Hargood (1726–1839), Admiral Sir Robert Stopford (1768–1847) |
 Royal Albert Memorial Museum |
Exeter | 1 | Sir William Webb Follet (1796–1845), MP for Exeter (1835–1845) |
 Castle Ward |
1 | Edward Ward (1790–1837), 3rd Viscount Bangor |
Pasirinkite dešimtmetį, kad pamatytėte jį apibrėžusį originalą.
General Sir James Macdonell, 1781 - 1857. Soldier is an oil on canvas portrait attributed to Frederick Richard Say. The subject is General Sir James Macdonell, a Scottish officer of the British Army. This work dates to about 1830 – about 1840.
A single gaze meets the viewer from the shadows of a heavy, crimson curtain. Wilhelm I, Prince of Prussia, sits in a moment of stillness, his presence defined by the rigid geometry of a military uniform. The dark navy fabric absorbs the light, while the metallic glint of epaulettes catches a sharp, directional glow from the upper left. Every detail of his face is rendered with a quiet, exacting precision,…
The figure emerges from a deep, dark void, anchored by the weight of heavy, textured robes. A single light source carves the contours of a face, catching the bridge of a nose and the steady gaze of a man held in a moment of quiet repose. The fabric of the garment ripples in thick, sculptural folds, suggesting a material of immense weight and luxury. Every line of the drapery leads…
General Sir James Macdonell, 1781 - 1857. Soldier (1835), Škotijos nacionalinė portretų galerija, Edinburgas. Toliau seka Sir William Webb Follet (1796–1845), MP for Exeter (1835–1845) (1835) ir Wilhelm I, Prince of Prussia, later King of Prussia and German Emperor (1797-1888) (1848).
31 metų amžiaus: General Sir James Macdonell, 1781 - 1857. Soldier sukurta 1835 m. Nr. Frederick Richard Say gimė 1804.
General Sir James Macdonell, 1781 - 1857. Soldier, Sir William Webb Follet (1796–1845), MP for Exeter (1835–1845), Wilhelm I, Prince of Prussia, later King of Prussia and German Emperor (1797-1888), Edward Ward (1790–1837), 3rd Viscount Bangor, Edward Law, 1st Earl of Ellenborough, Henry Pelham Fiennes Pelham Clinton, 5th Duke of Newcastle under Lyne, Albert of Saxe Coburg Gotha (1819–1861), Prince Consort, Prince Albert, Prince Consort (1819-1861), Ernest, Prince of Leiningen, with Prince Victor of Hohenlohe-Langenburg, Count Gleichen ir John Parker II (1772–1840), 1st Earl of Morley. Viršuje esančioje reitingo sąraše nurodyta kiekvieno kūrinio metis ir muziejus.
Mūsų kataloge yra 29 Frederick Richard Say darbų, skirtų laikotarpiui nuo 1830 iki 1863.
Daugiausia – Royal Collection (Londonas), National Portrait Gallery (Londras) ir National Trust (Plymouth). Viršuje esančiame muziejų sąraše yra visi jie.
1840s laikotarpiu: 8 iš 29 šioje pusėje esančių darbų buvo sukurtos tada, iš jų Wilhelm I, Prince of Prussia, later King of Prussia and German Emperor (1797-1888).
Šioje pusėje seniausias darbas yra John Parker II (1772–1840), 1st Earl of Morley (1830), o naujausias – Thomas Musgrave (1788–1860), Fellow, Senior Bursar, Lord Almoner's Professor of Arabic and Senior Proctor (1863).
Man (4), Victorian era (4) ir 19th century (3) iš 29 šioje pusėje esamų darbų.
Oil On Canvas, iš 29 šios puslapio darbų – 6.
Wilhelm I, Prince of Prussia, later King of Prussia and German Emperor (1797-1888), Prince Albert, Prince Consort (1819-1861) ir Ernest, Prince of Leiningen, with Prince Victor of Hohenlohe-Langenburg, Count Gleichen: Royal Collection, Londonas kolekcijoje yra 4 šioje pusėje esančių darbų.
Formatyviniai Say metų buvo pažymėti privilegijuotu auklintavimu šeimoje, gausiai susijusi su meno globimo tradicijomis. Jis mokėsi iš Johno Opie’jo, garsiojo landšaftų paveikslaslavo ir įtakingos romantizmo judėjimo figūros, todėl kartu su klasikinėmis formomis įsisavino gilią natūralaus grožio suvokimą. Šis dvigubas įtampų paveikimas tapo esminiu veiksmu, sukuriantu jo išskirtinę meninę viziją.
Say’s technika pasižymėjo itin tiksliu stebėjimu ir kruopščiausiu detalų atidaliu – šios savybės pakėlė jo portretus virš paprasto panašumo, paversdamos juos charakterio ir statuso išraiška. Jis teikė pirmenybę aliejiniams dažtams ant drobės, naudojdamas stabis, kurį dominuoja žemės tonai bei pristabdytos mėlynos ir žalios spalvos. Nepalyginti su daugeliu samtvorių, kurie rinkosi vaizdingas spalvas ir dramatiškas kompozicijas, Say prioritetą teikė formos aiškumui ir tonalumo graduacijai, kuriodamas vaizdus, prispičiusius orą dignified (dignifikuoto) ramybės. Jo drobės dažnai pasižymėjo išskleistais šviesos apgaidomis – technika, paskolinta Rembrandto, kuri subtiliai skulptavo jo paveikslų subiectų veidų ir audinio kontūrus, perteikdama gilią realizmo pojūtį.
