Oppdatert November 2026 · rangert etter vår popularitetsscore (søk, besøk og bestillinger for hvert verk) · 116 verk av Daniel Huntington i vår katalog
Kort fortalt
Av alle originalverkene Daniel Huntington etterlot seg, er det mest kjente Samuel Francis Du Pont (1867), som er en del av samlingen til National Portrait Gallery i Washington, D.C.. Like bak følger Carl Schurz (1899) og William C. Prime (1892). Vår katalog inneholder 116 verk av Daniel Huntington; galleriet har bevart de 100 verkene som verden beundrer mest, hver vist med sin dato, sitt museum og sin historie.
In this oil on canvas, Daniel Huntington captures the commanding presence of Samuel Francis Du Pont. The subject gazes out with the steady, resolute air of a man accustomed to command, his features rendered with a precision that speaks to his high standing. As a rear admiral in the United States Navy, Du Pont carries the weight of his rank in his very posture. He belongs to the prominent du…
This oil on canvas portrait by Daniel Huntington depicts Carl Schurz. Created in 1899, the work presents a three-quarter view of the subject. Schurz is shown as a seated male figure wearing spectacles. He is positioned facing left, though his head is turned toward the right. His left hand rests upon the arm of a chair, while his right hand holds a newspaper.
Daniel Huntington painted William C. Prime in 1892. This oil on canvas presents an elderly gentleman seated at a desk. Several books rest before him, suggesting a life defined by scholarship or legal practice. The subject is rendered with a focus on the dignity of his features and the textures of his attire.
In this formal portrait, Daniel Huntington captures William Cullen Bryant in a moment of quiet gravity. Painted about 1865, the work presents the subject as an elderly man, focusing on the dignity inherent in his advanced years. There is a certain stillness here, a sense of a life lived through intellect and reflection, rendered with the steady hand of a practiced portraitist.
The gaze of Benjamin Hazard Field meets the viewer from across the decades, captured in a formal oil on canvas by the hand of Daniel Huntington. This portrait, executed in 1887, presents the gentleman in a moment of quiet dignity. He sits with a composed presence, his form rendered with the precise, academic realism that defines the artist's approach to the human likeness. The subject's posture and the steady weight…
In this 1857 oil portrait, Daniel Huntington captures the likeness of Gulian Crommelin Verplanck. The sitter, a man of significant professional standing, is presented with the quiet dignity appropriate to his many roles. Verplanck was a prominent figure in New York, serving as a lawyer, a writer, and a member of the United States Congress. His life was defined by public service and intellectual engagement, qualities that Huntington seeks to…
In this 1839 work, Daniel Huntington presents A Sibyl, a painting that focuses on a single female figure. The subject is rendered as a waist-length figure, captured in a moment of quiet intensity. Through this composition, the artist explores themes of classical mythology, specifically drawing upon the tradition of the Sibyls. The portrayal moves away from the expansive landscapes for which Huntington was also known, focusing instead on the intimate…
A man sits in the quiet gravity of an armchair, his chin resting against a hand in a gesture of heavy contemplation. The light, a soft glow from the upper left, carves the contours of a face marked by the weight of intellect. Dark hair frames a brow caught in a moment of stillness. Every brushstroke follows the organic curve of a cheek or the deep, heavy folds of fabric,…
In this 1847 oil portrait, we encounter Philip Hone, a man whose life was deeply woven into the fabric of New York City. The composition is a bust-length study, positioning the subject slightly off-center as he gazes toward the viewer's left. There is a quiet gravity in his expression, a contemplative stillness that suggests a life spent observing the shifting tides of urban society. The lighting, descending from the upper…
In this formal 19th-century oil portrait, Daniel Huntington presents Henry Woodward Cooper and His Brother within a classic studio setting. The composition is centered on the two children, creating an immediate sense of familial closeness. One brother is seated, while the other leans against him, a pose that anchors the viewer's attention to their shared connection. This arrangement allows for a quiet, dignified presentation of the siblings, captured about 1842.
Thomas Cole (1801-1848)1841 · New York Historical Society
12
George Coggeshall (1784-1861)1840 · New York Historical Society
13
A Sybil1847
14
Italy1843 · Smithsonian American Art Museum
15
James Kent1848 · National Portrait Gallery
16
George Inness1854 · National Academy of Design
17
Albert Gallatin (1761-1849)1852 · New York Historical Society
18
George William Frederick Howard (1802–1864)1851 · New York Historical Society
19
Sir Charles Lock Eastlake (1793–1865)1851 · New York Historical Society
20
Mother and Child1849 · New York Historical Society
21
Jedediah Vincent Huntington (1815–1862)1850 · New York Historical Society
22
Dr. John Still Winthrop Parkin (1792-1866)1863 · New York Historical Society
23
Edward Jones (1812-1869)1862 · New York Historical Society
24
Benjamin Peirce (1809-1880)1857 · Harvard Art Museums
25
John Torrey (1796-1873)1857
26
Stephen Alexander (1806-1883)1856
27
Mercy's Dream1858 · Metropolitan Museum of Art
28
Mrs. Birdsall Cornell1860 · Metropolitan Museum of Art
29
Portrait of Asher Brown Durand1857
30
Dr. James Hall1857 · National Gallery of Art
31
John Jay Phelps (1810–1869)1869 · New York Historical Society
32
Sowing the Word1868 · New York Historical Society
33
George Bruce (1781–1866)1866 · New York Historical Society
34
Mrs. Marshall O. Roberts (Caroline D. Smith, 1827–1874)1864 · New York Historical Society
35
Robert Charles Winthrop (1809-1894)1871 · Harvard Art Museums
36
John David Wolfe1871 · Metropolitan Museum of Art
37
Nicoll Havens Dering1871 · Metropolitan Museum of Art
38
Laura Prime Jay (Mrs. John Clarkson Jay)1872 · Museum of the City of New York
39
Portrait of Stephen Salisbury II1878
40
John Alexander Logan (1826-1886)1876 · New York Historical Society
41
William Mitchell (1801-1886)1875 · New York Historical Society
42
Benjamin Hazard Field (1814–1893)1875 · New York Historical Society
43
Samuel Livingston Breese (1794–1870)1872 · New York Historical Society
44
Rutherford Birchard Hayes1884
45
Chester Alan Arthur1885
46
James Lloyd White (1822-1884)1884 · New York Historical Society
47
Cyrus W. Field1879 · Metropolitan Museum of Art
48
Self-Portrait1891 · National Academy of Design
49
Mary McCrea Stuart (Mrs. Robert Leighton Stuart, 1810-1891)1892 · New York Historical Society
50
James Russell White (1862-1886)1886 · New York Historical Society
51
Eugene Kelly1895
52
Mary Gardiner Thompson (1844–1935)1898 · New York Historical Society
53
The Field Family in a Garden1869 · Smithsonian American Art Museum
54
Philosophy and Christian Art1868 · Los Angeles County Museum of Art
55
William Henry Aspinwall1871 · National Portrait Gallery
56
Mohonk 2
57
GEORGE WASHINGTON AND CHRISTOPHER GIST ON THE ALLEGHENY RIVER
58
Landscape1837 · New York Historical Society
59
Study of a Woman1843
60
A Swiss Lake1849 · Smithsonian American Art Museum
61
Dr. John Edwards Holbrook1857 · National Gallery of Art
62
The Fair Student1858 · National Academy of Design
63
The Upper Hudson1871 · New Britain Museum of American Art
64
Henry Theodore Tuckerman1866 · National Gallery of Art
65
Elizabeth Bailey KentNational Portrait Gallery
66
John Taylor Johnston1875 · Augustiner Museum
67
Lake Mohonk1872
68
Late Afternoon on the Susquehanna1884
69
Lake Minnewaska1889
70
Lake Minnewaska after Showers1889
71
Justice and Peace1886 · Detroit Institute of Arts
72
The Delaware, East Branch, Walton
73
Balance Rock, Pine Hill, Walton
74
Mrs sylvester deringMetropolitan Museum of Art
75
Rock Study 1
76
Portrait of Mr. Renton
77
Portrait of Willard Parker
78
On the Rondout
79
Seated Male Nude
80
Nicoll Havens Dering
81
Portrait of a Woman
82
The EndMetropolitan Museum of Art
83
Mr. Mason by the Sea
84
William AmoryNasjonalmuseet i Warszawa
85
Dr. John W. FrancisCleveland Museum of Art
86
Portrait of a lady in a white dress, said to be Emily Astor
87
Colonel David Lion Gardiner
88
Portrait of John Lyon Gardiner
89
Portrait of Mrs. John Lyon Gardiner
90
Abraham Alfonse Albert GallatinHarvard Art Museums
91
Study In A WoodMetropolitan Museum of Art
92
Anna Watson Stuart
93
Mercy's Dream
94
Anna Watson Stuart1862 · Metropolitan Museum of Art
95
(Theodore Roosevelt, Senior)1884 · Sagamore Hill National Historic Site
96
Chocorua Peak, New HampshireNew York Historical Society
97
Black Mountain, Lake George
98
Hudson
99
Mohonk 1
100
Map
De fire motivene som går igjen hyppigst i disse originalverkene, hver med sitt fremste eksempel.
De 8 museene som innehar flest av maleriene på denne siden.
| Museum | By | Verker av Daniel Huntington | Malerier fra denne listen |
|---|---|---|---|
 New York Historical Society |
New York City | 26 | A Sibyl, Philip Hone (1780–1851), Henry Woodward Cooper and His Brother |
 Metropolitan Museum of Art |
New York | 11 | William C. Prime, Mercy's Dream, Mrs. Birdsall Cornell |
 National Portrait Gallery |
Washington, D.C. | 8 | Samuel Francis Du Pont, Carl Schurz, William Cullen Bryant |
 Smithsonian American Art Museum |
Washington, D.C. | 4 | Benjamin Hazard Field, Italy, The Field Family in a Garden |
 National Academy of Design |
New York City | 3 | George Inness, Self-Portrait, The Fair Student |
 Harvard Art Museums |
Cambridge | 3 | Benjamin Peirce (1809-1880), Robert Charles Winthrop (1809-1894), Abraham Alfonse Albert Gallatin |
 National Gallery of Art |
Washington | 3 | Dr. James Hall, Dr. John Edwards Holbrook, Henry Theodore Tuckerman |
 Museum of the City of New York |
New York City | 1 | Laura Prime Jay (Mrs. John Clarkson Jay) |
Velg et tiår for å se originalverket som definerer det.
In this 1839 work, Daniel Huntington presents A Sibyl, a painting that focuses on a single female figure. The subject is rendered as a waist-length figure, captured in a moment of quiet intensity. Through this composition, the artist explores themes of classical mythology, specifically drawing upon the tradition of the Sibyls. The portrayal moves away from the expansive landscapes for which Huntington was also known, focusing instead on the intimate…
A man sits in the quiet gravity of an armchair, his chin resting against a hand in a gesture of heavy contemplation. The light, a soft glow from the upper left, carves the contours of a face marked by the weight of intellect. Dark hair frames a brow caught in a moment of stillness. Every brushstroke follows the organic curve of a cheek or the deep, heavy folds of fabric,…
In this 1857 oil portrait, Daniel Huntington captures the likeness of Gulian Crommelin Verplanck. The sitter, a man of significant professional standing, is presented with the quiet dignity appropriate to his many roles. Verplanck was a prominent figure in New York, serving as a lawyer, a writer, and a member of the United States Congress. His life was defined by public service and intellectual engagement, qualities that Huntington seeks to…
In this oil on canvas, Daniel Huntington captures the commanding presence of Samuel Francis Du Pont. The subject gazes out with the steady, resolute air of a man accustomed to command, his features rendered with a precision that speaks to his high standing. As a rear admiral in the United States Navy, Du Pont carries the weight of his rank in his very posture. He belongs to the prominent du…
In this 1871 portrait, we find ourselves in the presence of Robert Charles Winthrop, a man whose very posture suggests a life of significant public weight. He is seated in a plush, upholstered armchair, positioned with a classical balance that avoids the stiffness of formal posing. The composition is a three-quarter length view, allowing the viewer to engage with him at eye-level, creating a sense of direct, respectful connection. There…
The gaze of Benjamin Hazard Field meets the viewer from across the decades, captured in a formal oil on canvas by the hand of Daniel Huntington. This portrait, executed in 1887, presents the gentleman in a moment of quiet dignity. He sits with a composed presence, his form rendered with the precise, academic realism that defines the artist's approach to the human likeness. The subject's posture and the steady weight…
This oil on canvas portrait by Daniel Huntington depicts Carl Schurz. Created in 1899, the work presents a three-quarter view of the subject. Schurz is shown as a seated male figure wearing spectacles. He is positioned facing left, though his head is turned toward the right. His left hand rests upon the arm of a chair, while his right hand holds a newspaper.
Samuel Francis Du Pont (1867), National Portrait Gallery, Washington, D.C.. Deretter følger Carl Schurz (1899) og William C. Prime (1892).
51 år gammel: Samuel Francis Du Pont er fra 1867, og Daniel Huntington ble født i 1816.
Samuel Francis Du Pont, Carl Schurz, William C. Prime, William Cullen Bryant, Benjamin Hazard Field, Gulian Crommelin Verplanck, A Sibyl, Washington Irving, Philip Hone (1780–1851) og Henry Woodward Cooper and His Brother. Rangeringen ovenfor viser årstall og museum for hvert verk.
Vår katalog inneholder 116 verk av Daniel Huntington, datert fra 1837 til 1899.
Hovedsakelig i New York Historical Society (New York City), Metropolitan Museum of Art (New York) og National Portrait Gallery (Washington, D.C.). Museumslisten ovenfor viser alle.
I 1850s: 14 av de 100 verkene på denne siden ble laget da, Gulian Crommelin Verplanck av dem.
På denne siden er det eldste Landscape (1837) og det nyeste Carl Schurz (1899).
Man (42), Portrait (23) og Woman (15), fordelt på 100 verk på denne siden.
Oil On Canvas, for 51 av de 100 verkene på denne siden.
Hudson river school, basert på originalene på denne siden.
A Sibyl, Philip Hone (1780–1851) og Henry Woodward Cooper and His Brother: New York Historical Society, New York City har 26 av verkene på denne siden.
Født i New York City, trådte Daniel Huntington frem som en sentral skikkelse i det amerikanske kunstlandskapet, der han vevde sammen den serene naturalismen fra Hudson River School med den verdighet og presisjon man finner i klassisk portrettkunst. Hans reise begynte med et strengt akademisk fundament; etter opptak ved Smith's Academy i New Haven, fortsatte han sine studier ved Yale College under veiledning av den legendariske Samuel F. B. Morse og senere Henry Inman. Denne tidlige eksponeringen for mestere innen komposisjon og detaljrikdom skulle definere den strukturelle integriteten i hans fremtidige verk. Hans kunstneriske ånd ble ytterligere foredlet gjennom reiser i Europa, hvor lyset og atmosfæren i Roma, Firenze og Paris etterlot et uutslettelig preg på hans palett.
Utviklingen av Huntingtons karriere er en fascinerende studie i stilistisk overgang. I sine tidlige år omfavnet han sin tids landskapstradisjoner og fanget den sublime skjønnheten i den amerikanske villmarken. Men etter hvert som hans rykte vokste, vendte han seg mot det intime og menneskelige, og etablerte seg som en fremragende portrettmaler. Dette skiftet gjorde det mulig for ham å utforske den psykologiske dybden hos sine motiver, som strakte seg fra historiske skikkelser til samtidens ledere. Hans evne til å balansere romantikkens dramatiske lyssetting med en nitid, realistisk tilnærming gjorde at han ikke bare klarte å fange et likhetstrekk, men selve essensen av de som satt for ham.
Utover lerretet var Huntington en hjørnestein i det amerikanske kunstetablissementet. Hans lederroller var instrumentelle i utformingen av institusjonene som fortsatt beskytter den amerikanske kulturarven i dag. Hans dedikasjon til faget kom til uttrykk gjennom hans betydelige bidrag til flere prestisjetunge organisasjoner:
Hans repertoar var bemerkelsesverdig mangfoldig, og spente fra allegoriske mesterverk som "Mercy's Dream"—et verk som brakte ham vidstrakt berømmelse gjennom sin guddommelige symbolikk—til dyptpløyende portretter av amerikanske presidenter, inkludert Abraham Lincoln og Martin Van Buren. Enten han illustrerte den åndelige reisen i The Pilgrim's Progress eller fanget stillheten i en studie av skogen, forble Huntingtons arbeid forankret i en dyp respekt for fortelling og sannhet. Gjennom sin doble arv som både maler og institusjonell leder, bidro han til å sikre en varig plass for amerikansk kunst på den globale scenen.
