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Baron Bexley

Navn Klasse Dato

Thomas Lawrence, Baron Bexley (1824), Oklahoma City Museum of Art. Fritatt for opphavsrett. Se dette lerretet i bevegelig lys: tegningen, den sanne fargen under fernissen, det rene pigmentet

Fakta om verket

Kunstner
Thomas Lawrence originaluniqueart.com/no/artists/thomas-lawrence_no/
Kunstnerens levetid
1769 – 1830
Malt
1824
Medium
Oil On Canvas
Opprinnelig størrelse
144 x 114 cm
Periode
19th Century
Arrangert på
Oklahoma City Museum of Art originaluniqueart.com/no/museums/oklahoma-city-museum-of-art-oklahoma-city/
Artistic style
Neoclassical
Influences
Classical Art
Notable elements
Crown, robe
Subject or theme
Portraiture

I sammenheng med

Baron Bexley — Thomas Lawrence

Hvor stort er det?

Originalen måler 144 × 114 cm (høyde × bredde), vist her ved siden av en voksen person med gjennomsnittlig høyde.

Når ble dette malt?

  1. 1760
  2. 1770
  3. 1780
  4. 1790
  5. 1800
  6. 1810
  7. 1820
  8. 1830

Rad over: årene. Rad under: kunstnerens alder ved starten og slutten av hvert tidsrom — 0 ved fødsel, 61 ved død.

Malt da kunstneren var 55. Kunstneren ble 61 år gammel. 181 av de 227 daterte verkene av denne kunstneren i vår katalog ble laget tidligere.

Skyggelagt: livsløpet til Thomas Lawrence (1769–1830) ▲ dette verket, 1824 hvert daterte maleri, tiår for tiår

Tidlige verk: frem til 1801 Hovedvirksomhetsår: 1801–1822 Senere verk: fra 1822

Disse tre periodene deler verkene i denne katalogen inn i et første kvartal, en midtre halvdel og et siste kvartal. De utgjør ikke kunstnerens komplette produksjon: en tynn periode kan skyldes hull i dokumentasjonen snarere enn en rolig periode. De samme årene som utgjør kunstnerens liv er vevd inn i dem

Sammenlign med

Velg ett av verkene ovenfor: nevn to ting det har til felles med dette, og én ting som er annerledes.

Flere verk som kan stå ved siden av dette: originaluniqueart.com/no/art/similar/sir-thomas-lawrence-baron-bexley-D7WVQG-en/

Farger

Målt ut fra bilde

    Dominerende farge

    Phthalo Green #241f22

    Katalogisert palett

    • #241F22
    • #E5DFDA
    • #74502D
    • #AD9D8C

    Disse fargene i kunstnerens komplette palett Finn andre malerier etter farge

    Fargepalett
    Earthy Den dominerende fargefamilien i bildet.
    Hovedfarge
    Phthalo Green
    Intensitet
    Monochromatic Hvor mettede og varierte fargene er, fra en enkelt dempet nyanse til mange klare toner.
    Kontrast
    Statement Hvor mye fargene varierer i lyshet og metning over hele bildet.
    Harmoni
    Discordant Palette Hvor godt fargene fungerer sammen, fra kontrastfylt til fullstendig harmonisk.
    Lysstyrke
    Deep_shadow Hvor lyst eller mørkt bildet fremstår totalt sett, fra dype skygger til lyse høylys.
    Metning
    Muted Hvor rene og sterke fargene er, fra nesten grått til helt livlige.

    Hvor i verden kan dette maleriet sees?

    • lavere enn 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% og mer
    Dette maleriet alene har for få registrerte besøkende til å kunne kartlegges, så oversikten viser alle verk av Thomas Lawrence i løpet av de siste tolv månedene — totalt 18 land. Kilde for disse tallene

    De ti ledende landene

    1. 1 China 62.9%
    2. 2 Singapore 11.7%
    3. 3 United States of America 9.1%
    4. 4 Hong Kong 5.6%
    5. 5 Spain 1.0%
    6. 6 France 1.0%
    7. 7 Storbritannia 1.0%
    8. 8 Greece 1.0%
    9. 9 Mexico 1.0%
    10. 10 Portugal 1.0%
    11. · 8 andre land 4.7%

    Finn de tre mørkeste landene på kartet. Ligger museet som huser dette maleriet i noen av dem? Skriv ned én grunn til at folk langt unna kan ønske å se det.

    De 20 mest viste verkene av Thomas Lawrence

    1. 1 Satan Summoning His Legions, 1797 10.3%
    2. 2 Miss Murray, 1826 3.4%
    3. 3 The Countess of Aberdeen 3.0%
    4. 4 The Calmady Children (Emily, 1818–?1906, and Laura Anne, 1820–1894), 1823 2.6%
    5. 5 Harriet Anne, Countess of Belfast, 1823 2.6%
    6. 6 John Fane, Tenth Count of Westmorland 2.1%
    7. 7 Portrait of the Children of John Angerstein, 1808 1.7%
    8. 8 Portrait of Alexander I, 1818 1.7%
    9. 9 William Carr (1768–1854), Viscount Beresford, GCB, 1818 1.7%
    10. 10 Lydia Elizabeth Hoare (1786–1856), Lady Acland, with Her Two Sons, Thomas (1809–1898), Later 11th Bt, and Arthur (1811–1857), 1815 1.3%
    11. 11 Lord Amherst, 1821 1.3%
    12. 12 George IV, 1822 1.3%
    13. 13 Harriet Elizabeth Peirse (1790–1825), Lady Beresford 1.3%
    14. 14 George IV (1762–1830), 1830 1.3%
    15. 15 Portrait of Canova 1.3%
    16. 16 PORTRAIT OF A YOUNG OFFICER 1.3%
    17. 17 The Countess of Darnley, 1825 1.3%
    18. 18 John, Count Capo d'Istria (1776-1831), 1819 0.9%
    19. 19 Mrs Jens Wolff, 1815 0.9%
    20. 56 Baron Bexley, 1824 dette maleriet 0.4%

    Sammen utgjør disse verkene 41.7% av all oppmerksomheten som denne kunstnerens malerier har mottatt i løpet av de siste tolv månedene. Katalogen inneholder 347 verk av denne kunstneren, hvorav 124 ble sett på minst én gang. Dette maleriet rangerer som nummer 56 av dem, med 0.4% av denne oppmerksomheten. Det samme gjelder, måned for måned

    Søylene måler oppmerksomhet, ikke kvalitet. Velg verket øverst og dette: nevn én ting som kan gjøre et maleri berømt, utover hvor godt det er malt.

    Om dette kunstverket

    Baron Bexley — Thomas Lawrence

    A Portrait of Regency Authority: Baron Bexley by Sir Thomas Lawrence

    This meticulously crafted hand-painted reproduction captures the essence of 19th-century British aristocracy through the masterful brushwork of Sir Thomas Lawrence, one of the most celebrated portrait painters of his era. “Baron Bexley,” created in 1824, offers a compelling glimpse into the opulent world of Regency England, showcasing not just a likeness but an embodiment of power and solemn contemplation. The subject, identified as Baron Bexley, is presented with a deliberate formality – a man seated within a richly appointed chair, his hands clasped together in a gesture that speaks volumes about authority and perhaps even quiet reflection. The painting’s immediate impact lies in its technical execution; Lawrence's signature style, characterized by soft, luminous modelling and a remarkable ability to capture texture, is fully realized here. Notice the subtle gradations of light and shadow across Bexley’s robe, the delicate rendering of his crown, and the almost palpable weight of the velvet upholstery – details that elevate this reproduction beyond mere imitation.

    Historical Context: The Rise of Lawrence and the Portraiture Trade

    The Regency Era (1811-1820): “Baron Bexley” was painted during a period of significant social and political change in Britain. The Napoleonic Wars had shaped the nation’s identity, and there was a growing emphasis on civic virtue and national pride. Portraits like this one were not simply commissioned to record appearances; they served as powerful statements of status and influence.

    Sir Thomas Lawrence's Influence: Lawrence rose to prominence through his role as Surveyor General of the King’s Works, overseeing the construction of iconic buildings such as Buckingham Palace. This position afforded him unparalleled access to the royal family and other prominent figures, fueling a prolific portraiture career. He was renowned for his ability to capture not just physical likenesses but also the character and personality of his subjects.

    The Patronage System: The art market during this period relied heavily on patronage – wealthy individuals commissioning portraits to enhance their social standing or commemorate significant events. Lawrence’s success stemmed, in part, from his ability to cultivate relationships with these influential patrons.

    Symbolism and Composition: A Study in Power and Restraint

    The composition of “Baron Bexley” is carefully constructed to convey a sense of authority and dignity. The Baron’s seated posture, combined with the formal attire – the crown signifying his rank and the robe denoting wealth and status – immediately establishes him as a figure of importance. The inclusion of two secondary figures, positioned at the periphery of the scene, subtly reinforces this hierarchy. One, near the top left, could represent an attendant or advisor, while the other at the bottom right might be a witness or observer. The curtain in the background adds depth and creates a sense of theatricality, as if Bexley is performing his role before an audience. Lawrence’s use of color – rich reds, blues, and golds – further enhances the painting's opulent feel, reflecting the wealth and prestige associated with the aristocracy.

    Technique and Reproduction: Recreating a Masterpiece

    This hand-painted reproduction utilizes traditional oil painting techniques to faithfully recreate Lawrence’s original style. Skilled artisans meticulously replicate his layering of glazes, his subtle modeling effects, and his masterful use of light and shadow. The result is a stunningly realistic image that captures the nuances of the original painting. The dimensions of 144 x 114 cm provide an appropriately scaled representation, allowing for versatile placement within a variety of interior settings. This reproduction offers collectors and design enthusiasts alike the opportunity to own a piece of art history – a tangible connection to one of Britain’s most celebrated portrait painters.

    Kunstner og museum

    Kunstner

    Thomas Lawrence

    Født i Bristol, Storbritannia

    A Brushstroke of Regency Splendor: The Life and Art of Sir Thomas Lawrence

    Sir Thomas Lawrence, a name synonymous with the elegance and sophistication of the Regency era, was more than just a portrait painter; he was a cultural chronicler, capturing the spirit of his time with remarkable skill and undeniable charm. Born in Bristol in 1769 amidst the bustling port city’s vibrant atmosphere, his artistic journey began not with formal instruction but with an innate talent nurtured through observation and entrepreneurial spirit. His early years were marked by a nomadic existence, following his father's innkeeping ventures across Devizes and Bath, where he honed his skills sketching portraits for local patrons – a practice that laid the foundation for his future success. This self-reliance, born from necessity, would shape his entire career, even as he navigated the intricate world of aristocratic patronage.

    Ascension to Portraiture’s Pinnacle

    The move to London at the age of eighteen marked a dramatic turning point in Lawrence's life. He swiftly established himself as a portrait painter in oils, quickly securing his first royal commission – a captivating portrait of Queen Charlotte in 1789 – which catapulted him into the heart of London society. This wasn’t merely about technical proficiency; Lawrence possessed an extraordinary ability to capture not just likeness but also character, imbuing his subjects with a flattering yet insightful presence. He became renowned for his capacity to portray the glamour and refinement of the Regency, painting nobility, royalty, and prominent figures with a virtuoso handling of paint that drew comparisons to Sir Joshua Reynolds, whom he deeply admired. His election as an associate, then full member, of the Royal Academy in 1791 and 1794 respectively solidified his position within the established art world, culminating in his appointment as Painter-in-Ordinary to the King in 1792 – a prestigious honor that underscored his influence and access to the highest echelons of power. His style evolved subtly over time, always characterized by graceful poses, rich colors, and meticulous attention to detail, reflecting both tradition and a burgeoning Romantic sensibility.

    Patronage, Prestige, and the Waterloo Chamber

    The patronage of the Prince Regent (later King George IV) proved instrumental in shaping Lawrence’s career trajectory. This influential relationship led to one of his most ambitious undertakings: the commission to paint portraits of allied leaders for the Waterloo Chamber at Windsor Castle. These monumental works, intended as a lasting tribute to the victory over Napoleon, showcased not only Lawrence's technical mastery but also his ability to handle large-scale compositions and convey the gravitas of international figures. The project brought him widespread acclaim across Europe and further cemented his reputation as a leading portraitist. In 1815, he was knighted – a significant recognition of his artistic achievements and service to the Crown. He later became President of the Royal Academy in 1820, a position he held until his death, overseeing the direction of British art and nurturing the talents of aspiring artists.

    A Legacy Tempered by Complexity

    Despite his considerable success and widespread acclaim, Lawrence’s life was not without its complexities. He grappled with persistent financial difficulties throughout much of his career, often burdened by debt despite earning substantial sums from his commissions. His personal life was marked by tumultuous relationships, notably with Sally and Maria Siddons, daughters of the celebrated actress Sarah Siddons – connections that provided inspiration but also brought heartache and scandal. Furthermore, Lawrence’s subjects reflected the social realities of his time, including both slave owners and abolitionists, a poignant reminder of the moral ambiguities inherent in Regency society. His reputation experienced a decline during the Victorian era as tastes shifted towards more didactic art forms, yet his legacy has since been partially restored, recognizing him as a master of portraiture and a pivotal figure in British artistic history. His work remains celebrated for its elegance, technical brilliance, and ability to capture the essence of his subjects, offering a captivating glimpse into the world of Regency England.

    Influences and Enduring Impact

    Lawrence’s artistic development was profoundly shaped by Sir Joshua Reynolds, whose emphasis on capturing character and employing a fluid brushstroke resonated deeply with the young artist. He diligently studied Old Master drawings, particularly those by Michelangelo and Raphael, absorbing their anatomical precision and compositional skills. While rooted in tradition, Lawrence's work also reflected the emerging Romantic sensibilities of his time, embracing glamour and emotional intensity. His influence can be seen in the works of later portrait painters who sought to emulate his style and capture the spirit of an era. Though he faced personal struggles and a decline in popularity during the Victorian period, Sir Thomas Lawrence’s legacy endures as one of Britain's most accomplished and captivating portraitists, a testament to his talent, charm, and enduring contribution to the world of art.

    Museum

    Oklahoma City Museum of Art

    Utstilt i Oklahoma City, United States of America

    A Beacon of Artistic Vision: The Oklahoma City Museum of Art

    Nestled within the vibrant heart of downtown Oklahoma City, the Oklahoma City Museum of Art (OKCMOA) stands as more than just a repository for artistic treasures; it’s an immersive experience, a dynamic hub where art breathes life into the city and invites visitors on a journey through centuries of creative expression. From its humble beginnings as a grassroots initiative in the early 20th century to its current status as a nationally recognized institution, OKCMOA's story is one of unwavering dedication, visionary leadership, and a profound commitment to making art accessible to all. The museum’s architecture itself—a striking testament to modern design—seamlessly integrates with the collection, creating an environment that both celebrates and enhances the power of artistic vision.

    At the heart of OKCMOA's compelling narrative lies its extraordinary collection, a carefully curated tapestry woven from diverse threads of American and international art. The museum’s strength resides particularly in its powerful representation of postwar abstraction, showcasing the revolutionary works of artists who redefined the boundaries of artistic expression following World War II. These pieces—often characterized by their non-representational forms, bold colors, and evocative textures—invite contemplation and challenge conventional notions of beauty. Beyond this pivotal period, visitors will discover a rich array of American art spanning from classic realism to the energetic experimentation of modernism, alongside an impressive international collection that offers a global perspective on artistic traditions. A truly unforgettable centerpiece is the museum’s unparalleled assemblage of Dale Chihuly glass art, culminating in the breathtaking Eleanor Blake Kirkpatrick Memorial Tower—a swirling cascade of vibrant colors and organic shapes that dominates the atrium and serves as a mesmerizing focal point.

    Architectural Harmony: The Donald W. Reynolds Visual Arts Center

    The building itself is an integral part of the OKCMOA experience, a masterpiece of modern design conceived by architect Rand Elliott. The Donald W. Reynolds Visual Arts Center isn’t merely a structure housing art; it responds to it, providing a neutral yet stimulating backdrop that enhances the viewing experience. A distinctive glass façade floods the interior with natural light, creating an inviting atmosphere and highlighting the brilliance of the artworks within. This thoughtful design philosophy extends beyond aesthetics, prioritizing accessibility and flow to ensure visitors can easily navigate the galleries and fully immerse themselves in the world of art. The building’s open layout encourages exploration, while its strategic use of space creates a sense of both grandeur and intimacy – a perfect balance for appreciating the diverse range of artistic expressions on display.

    A Living Museum: Exhibitions and Community Engagement

    OKCMOA is far more than a static collection; it’s a vibrant, evolving institution dedicated to fostering engagement with the arts. The museum consistently enriches its offerings through rotating exhibitions that bring fresh perspectives and showcase both established and emerging artists. Beyond visual art, OKCMOA actively cultivates a thriving cultural scene, hosting film screenings—featuring independent, foreign, and classic cinema—lectures by renowned scholars, and special events designed to appeal to diverse interests. These programs are thoughtfully curated to engage visitors of all ages and backgrounds, fostering a deeper appreciation for the arts and encouraging creative exploration. The museum’s commitment to education is evident in its numerous workshops and outreach initiatives, ensuring that art remains accessible and relevant within the community it serves.

    A Legacy of Innovation and Community Impact

    What truly sets OKCMOA apart is its unique blend of artistic excellence, architectural innovation, and an unwavering dedication to public engagement. Its central location within downtown Oklahoma City makes it a convenient destination for both tourists and locals alike, surrounded by other cultural attractions and vibrant urban amenities. The museum’s diverse collections cater to a wide range of tastes, ensuring that every visitor will discover something to inspire and captivate them. From the iconic Dale Chihuly Tower to the profound impact of its collection of American and international art, OKCMOA stands as a testament to the power of art to enrich lives and strengthen communities – a true beacon of creativity in the heart of the American landscape.

    Additional Resources

    Website:

    https://www.okcmoa.com/

    Wikipedia:

    https://en.wikipedia.org/wiki/Oklahoma_City_Museum_of_Art

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    QR-kode som lenker til nedlastingssiden for Baron Bexley

    originaluniqueart.com/no/art/download/sir-thomas-lawrence-baron-bexley-D7WVQG-en/

    Kildehenvisning for dette kunstverket

    MLA
    Lawrence, Thomas. Baron Bexley. 1824, Oklahoma City Museum of Art. https://originaluniqueart.com/no/art/sir-thomas-lawrence-baron-bexley-D7WVQG-en/
    APA
    Lawrence, Thomas (1824). Baron Bexley [Painting]. Oklahoma City Museum of Art. https://originaluniqueart.com/no/art/sir-thomas-lawrence-baron-bexley-D7WVQG-en/
    Chicago
    Thomas Lawrence. Baron Bexley. 1824. Oklahoma City Museum of Art. https://originaluniqueart.com/no/art/sir-thomas-lawrence-baron-bexley-D7WVQG-en/
    Harvard
    Lawrence, Thomas (1824) Baron Bexley. Oklahoma City Museum of Art. Available at: https://originaluniqueart.com/no/art/sir-thomas-lawrence-baron-bexley-D7WVQG-en/

    Se nærmere på

    Baron Bexley — Thomas Lawrence

    Se nærmere etter

    Svar med egne ord. Det finnes ingen feil svar her – bare svar du kan forklare.

    1. Hva fanger blikket ditt først, og hvorfor?
    2. Hvilke farger eller former skaper stemningen – og hva er den stemningen?
    3. Vår katalog klassifiserer dette verket under: portraiture, royal figure, baron bexley. Er du enig? Hva ville du lagt til, eller fjernet?
    4. Se tilbake på Portrait of the Children of John Angerstein (1808), tidligere i denne guiden. Nevn to ting det har til felles med dette verket, og én ting som er annerledes.
    5. Thomas Lawrence var omtrent 55 da dette ble laget. Hva i verket bærer preg av å være skapt av en kunstner i den fasen?

    Ditt svar

    Skriv et kort avsnitt om dette kunstverket. Bruk informasjonen fra de tidligere delene av denne guiden og svarene dine ovenfor.

    Spørsmål og svar

    Ble "Baron Bexley" værende i kunstnerens hjemland?

    Nei – kunstverket oppbevares i utlandet. "Baron Bexley" befinner seg i United States of America, mens Thomas Lawrence ble født i Storbritannia.

    Hvilken plassering passer best til formatet på "Baron Bexley" av Thomas Lawrence?

    Med sin Portrait form anbefales en reproduksjon av "Baron Bexley" for et Reception.

    Hvilken stemning og følelse uttrykker "Baron Bexley" av Thomas Lawrence?

    Stemningen i "Baron Bexley" av Thomas Lawrence kan beskrives som Elegant, og den emosjonelle tonen er Reflective.