Portrett av Robert Herdman

Robert Herdmans malerier: De 52 mest kjente, sett gjennom et galleris øyne

Oppdatert October 2026 · rangert etter vår popularitetsscore (søk, besøk og bestillinger for hvert verk) · 52 verk av Robert Herdman i vår katalog

Kort fortalt

I galleriets øyne er Robert Herdmans mest kjente maleri John Campbell Shairp (1819–1885), LLD (1886). The young seamstress (1860) og The Arrochar Gleaner (1862) fullfører trioen som alle kjenner igjen. Av de 52 verkene til Robert Herdman i vår katalog, presenterer galleriet de 52 mest kjente nedenfor; hvert originalverk med årstall, museum og hva som gjør det unikt.

1829 – 1888 Romanticism Flest verk: Scottish National Portrait Gallery

Galleriets 10 beste malerier av Robert Herdman

7
Morning (1861) av Robert Herdman

Morning

1861

The painting "Morning" by Robert Inerarity Herdman is a beautiful and captivating piece of art that showcases the artist's skill and attention to detail. Created in 1861, this oil on panel painting measures 31 x 23 cm and is currently displayed at the Glasgow Museums Resource Centre in the United Kingdom. Painting Description The painting features a young child wearing a blue hat with a bow on it, holding a…

Robert Herdman sine malerier, rangert fra 11 til 52

11Evening (1862) av Robert HerdmanEvening1862 12'Who still in dreams can hear the heavenly harps' (1862) av Robert Herdman'Who still in dreams can hear the heavenly harps'1862 13Fern Gatherer (1866) av Robert HerdmanFern Gatherer1866 14After the Battle (1870) av Robert HerdmanAfter the Battle1870 · Scottish National Gallery 15Sir Joseph Noel Paton (1821–1901) (1870) av Robert HerdmanSir Joseph Noel Paton (1821–1901)1870 16Aeneas Ranald McDonell (1820–1897) (1868) av Robert HerdmanAeneas Ranald McDonell (1820–1897)1868 17David Octavius Hill (1802–1870), RSA (1870) av Robert HerdmanDavid Octavius Hill (1802–1870), RSA1870 · Royal Scottish Academy of Art - Architecture 18A Fountain Group, South Italy (1868) av Robert HerdmanA Fountain Group, South Italy1868 19Mary, Queen of Scots The Farewell to France (1867) av Robert HerdmanMary, Queen of Scots The Farewell to France1867 20Emily Merelina Meymott (1830–1911), Baroness Shand (1867) av Robert HerdmanEmily Merelina Meymott (1830–1911), Baroness Shand1867 · Scottish National Gallery 21Execution of Mary, Queen of Scots (1867) av Robert HerdmanExecution of Mary, Queen of Scots1867 22Evening Thoughts (1864) av Robert HerdmanEvening Thoughts1864 · Scottish National Gallery 23La culla – Study in Italy (1864) av Robert HerdmanLa culla – Study in Italy1864 · Royal Scottish Academy of Art - Architecture 24Charles Shaw Lefevre (1794–1888), 1st Viscount Eversley, in the Uniform of the Hampshire Carabiniers (1875) av Robert HerdmanCharles Shaw Lefevre (1794–1888), 1st Viscount Eversley, in the Uniform of the Hampshire Carabiniers1875 25Sir James Falshaw (1810–1889), Bt, Lord Provost of Edinburgh (1874–1877) (1877) av Robert HerdmanSir James Falshaw (1810–1889), Bt, Lord Provost of Edinburgh (1874–1877)1877 26C. G. Shaw (1878) av Robert HerdmanC. G. Shaw1878 · County Buildings 27Sir George Harvey (1806–1876), Artist (1874) av Robert HerdmanSir George Harvey (1806–1876), Artist1874 · Scottish National Portrait Gallery 28Sir James David Marwick (1826–1908), Town Clerk of Glasgow (1873–1903) (1873) av Robert HerdmanSir James David Marwick (1826–1908), Town Clerk of Glasgow (1873–1903)1873 29Sir George Harvey (1806–1876), PRSA (1874) av Robert HerdmanSir George Harvey (1806–1876), PRSA1874 · Royal Scottish Academy of Art - Architecture 30Thomas Carlyle (1876) av Robert HerdmanThomas Carlyle1876 · The National Trust For Scotland 31Pleasures of Hope (1877) av Robert HerdmanPleasures of Hope1877 32Lochiel's Warning (1878) av Robert HerdmanLochiel's Warning1878 33David Laing (1793–1878), Antiquary (1874) av Robert HerdmanDavid Laing (1793–1878), Antiquary1874 · Scottish National Portrait Gallery 34A Conventicle Preacher before the Justices (1876) av Robert HerdmanA Conventicle Preacher before the Justices1876 · Royal Scottish Academy of Art - Architecture 35Sir Theodore Martin (1876) av Robert HerdmanSir Theodore Martin1876 · National Portrait Gallery 36Thomas Carlyle (1795–1881) (1875) av Robert HerdmanThomas Carlyle (1795–1881)1875 · Dumfries Museum And Camera Obscura 37The Conference between Mary, Queen of Scots and John Knox at Holyrood Palace, 1561 (1875) av Robert HerdmanThe Conference between Mary, Queen of Scots and John Knox at Holyrood Palace, 15611875 38George Rough (1801–1888), Provost of Dundee (1853–1856) (1882) av Robert HerdmanGeorge Rough (1801–1888), Provost of Dundee (1853–1856)1882 39Wae's Me (1879) av Robert HerdmanWae's Me1879 40Alexander Laing, LLD, Newburgh (1885) av Robert HerdmanAlexander Laing, LLD, Newburgh1885 41Self Portrait (1883) av Robert HerdmanSelf Portrait1883 42Peter Clouston, Lord Provost of Glasgow (1860–1863) (1883) av Robert HerdmanPeter Clouston, Lord Provost of Glasgow (1860–1863)1883 43Reverend George S. Burns, Minister of Glasgow Cathedral (1881) av Robert HerdmanReverend George S. Burns, Minister of Glasgow Cathedral1881 44Sir William Collins (1817–1895), Lord Provost of Glasgow (1877–1880) (1881) av Robert HerdmanSir William Collins (1817–1895), Lord Provost of Glasgow (1877–1880)1881 45Sir James Watson (1801–1889), Lord Provost of Glasgow (1871–1874) (1882) av Robert HerdmanSir James Watson (1801–1889), Lord Provost of Glasgow (1871–1874)1882 46Bouverie Francis Primrose (1813–1898), Secretary to the Board of Trustees for Manufactures and Fisheries (1883) av Robert HerdmanBouverie Francis Primrose (1813–1898), Secretary to the Board of Trustees for Manufactures and Fisheries1883 · Scottish National Portrait Gallery 47A Sprig of Arran Heather av Robert HerdmanA Sprig of Arran Heather 48A Pilot av Robert HerdmanA Pilot 49Saint Columba Rescuing a Captive (1883) av Robert HerdmanSaint Columba Rescuing a Captive1883 50Corrie, a Crofter's Harvest av Robert HerdmanCorrie, a Crofter's Harvest 51Sleep av Robert HerdmanSleepLeeds Art Gallery 52Sir Joseph Noel Paton (1821–1901), RSA av Robert HerdmanSir Joseph Noel Paton (1821–1901), RSARoyal Scottish Academy of Art - Architecture

Motivene som fanget Robert Herdmans blikk

De fire motivene som går igjen hyppigst i disse originalverkene, hver med sitt fremste eksempel.

Museene som har Robert Herdmans originalverk

De 8 museene som innehar flest av maleriene på denne siden.

Museum By Verker av Robert Herdman Malerier fra denne listen
Scottish National Portrait Gallery, EdinburghScottish National Portrait Gallery Edinburgh 5 Thomas Carlyle (1795–1881), Historian and Essayist, Reverend John Tulloch (1823–1886), Theologian and Principal of St Andrews University, Sir George Harvey (1806–1876), Artist
Royal Scottish Academy of Art - Architecture, EdinburghRoyal Scottish Academy of Art - Architecture Edinburgh 5 David Octavius Hill (1802–1870), RSA, La culla – Study in Italy, Sir George Harvey (1806–1876), PRSA
Scottish National Gallery, EdinburghScottish National Gallery Edinburgh 3 After the Battle, Emily Merelina Meymott (1830–1911), Baroness Shand, Evening Thoughts
County Buildings, AyrCounty Buildings Ayr 1 C. G. Shaw
The National Trust For Scotland, EcclesburnThe National Trust For Scotland Ecclesburn 1 Thomas Carlyle
National Portrait Gallery, LondonNational Portrait Gallery London 1 Sir Theodore Martin
Dumfries Museum And Camera Obscura, DumfriesDumfries Museum And Camera Obscura Dumfries 1 Thomas Carlyle (1795–1881)
Leeds Art Gallery, LeedsLeeds Art Gallery Leeds 1 Sleep

Robert Herdman, ett signaturmaleri per tiår

Verk per tiår

Velg et tiår for å se originalverket som definerer det.

Robert Herdmans malerier: galleriets svar

Hvilket maleri av Robert Herdman er det mest kjente av alle?Avslør svaret

John Campbell Shairp (1819–1885), LLD (1886). Deretter følger The young seamstress (1860) og The Arrochar Gleaner (1862).

Hvor gammel var Robert Herdman da John Campbell Shairp (1819–1885), LLD ble ferdigstilt?Avslør svaret

57 år gammel: John Campbell Shairp (1819–1885), LLD er fra 1886, og Robert Herdman ble født i 1829.

Hvilke er de 10 beste maleriene til Robert Herdman?Avslør svaret

John Campbell Shairp (1819–1885), LLD, The young seamstress, The Arrochar Gleaner, Thomas Carlyle (1795–1881), Historian and Essayist, John Tulloch (1823–1886), Reverend John Tulloch (1823–1886), Theologian and Principal of St Andrews University, Morning, The Time of Primroses, Bonny Bell og The Gleaner. Rangeringen ovenfor viser årstall og museum for hvert verk.

Hvor mange verk skapte Robert Herdman?Avslør svaret

Vår katalog inneholder 52 verk av Robert Herdman, datert fra 1854 til 1886.

Hvor henger de mest kjente originalverkene til Robert Herdman?Avslør svaret

Hovedsakelig i Scottish National Portrait Gallery (Edinburgh), Royal Scottish Academy of Art - Architecture (Edinburgh) og Scottish National Gallery (Edinburgh). Museumslisten ovenfor viser alle.

Når malte Robert Herdman sine mest kjente malerier?Avslør svaret

I 1870s: 19 av de 52 verkene på denne siden ble laget da, Thomas Carlyle (1795–1881), Historian and Essayist av dem.

Hvilke er Robert Herdmans tidligste og nyeste berømte verk?Avslør svaret

På denne siden er det eldste The Time of Primroses (1854) og det nyeste John Campbell Shairp (1819–1885), LLD (1886).

Hvilke motiver vendte Robert Herdman oftest tilbake til?Avslør svaret

Victorian era (3), Portraiture (2) og Elderly man (2), fordelt på 52 verk på denne siden.

Hvilken kunstretning er Robert Herdman tilknyttet?Avslør svaret

Romanticism, basert på originalene på denne siden.

Hvilke originalverk av Robert Herdman har Scottish National Portrait Gallery i sin samling?Avslør svaret

Thomas Carlyle (1795–1881), Historian and Essayist, Reverend John Tulloch (1823–1886), Theologian and Principal of St Andrews University og Sir George Harvey (1806–1876), Artist: Scottish National Portrait Gallery, Edinburgh har 5 av verkene på denne siden.

Robert Herdman: kunstneren

A Victorian Visionary: The Life and Legacy of Robert Inerarity Herdman

Robert Inerarity Herdman (1829–1888) stands as a luminous figure within the landscape of nineteenth-century Scottish art, a painter whose brush captured not merely the physical likeness of his subjects but the very soul of the Celtic Revival. Born in the quiet beauty of Rattray, near Blairgowrie, Perthshire, Herdman’s early life was marked by a profound intellectual depth. Though he initially turned his studies toward theology at St Andrews University, the calling of the canvas proved irresistible. This transition from the spiritual study of divinity to the visual exploration of light and form would define his career, allowing him to infuse his later works with a sense of sacredness and mythic resonance that few of his contemporaries could replicate. By 1847, Herdman had migrated to Edinburgh, seeking the mentorship of the era's most distinguished masters, Robert Scott Lauder and John Ballantyne. Under their rigorous tutelage, he developed a meticulous technique characterized by an extraordinary command over oil painting. His training was not merely technical but deeply philosophical; through his friendship with Professor John Stuart Blackie, Herdman became intimately acquainted with the richness of Celtic mythology and folklore. This influence acted as a guiding star for his artistic development, steering him away from mere academic realism toward a more evocative, narrative style that celebrated the pastoral beauty and spiritual heritage of Scotland.

Mastery of Portraiture and the Pastoral Ideal

Herdman’s professional ascent was marked by significant institutional recognition, including his election as an Associate of the Royal Scottish Academy in 1861 and his subsequent elevation to Fellow in 1863. His reputation as a premier portraitist was solidified through prestigious commissions from various Scottish city councils, where he captured the dignity, character, and gravitas of the nation's most prominent figures. In these works, one observes a masterful use of chiaroscuro, where light and shadow dance across the features of his subjects to reveal layers of psychological depth. His portrait of Thomas Carlyle in 1875 remains a hauntingly beautiful study, utilizing heavy impasto and somber tones to embody the intellectual intensity of the great historian. Yet, while his portraits commanded respect in the halls of power, it is perhaps his more intimate, idyllic scenes that have secured his place in the hearts of art lovers. Herdman possessed a unique ability to weave storytelling into the landscape, most notably through his celebrated series of paintings featuring young girls amidst picturesque, folkloric settings. In works such as "Morning", created in 1861, he presents a serene world where a child in a blue hat holds a musical instrument against a backdrop of tranquil mountains and water. These compositions are more than mere depictions of childhood; they are windows into a romanticized, pastoral Eden, reflecting a deep-seated nostalgia for a vanishing way of life.

Historical Significance and Artistic Endurance

The breadth of Herdman’s impact is evidenced by the enduring presence of his work in some of the world's most esteemed collections. From the National Portrait Gallery in London to the Royal Scottish Academy, his canvases continue to serve as vital touchstones for understanding the Victorian era's aesthetic and cultural shifts. His ability to bridge the gap between formal, high-society portraiture and the emotive, myth-driven landscapes of the Celtic movement allowed him to speak to a wide audience, from the political elite to the romantic dreamer. As we reflect on his life, several key elements define his enduring historical importance:
  • The Synthesis of Traditions: His unique ability to blend the rigorous academic training of Edinburgh with the burgeoning spirit of the Celtic Revival.
  • Narrative Depth: The use of landscape not just as a setting, but as a vessel for folklore, emotion, and spiritual contemplation.
  • Technical Versatility: A mastery that spanned from the somber, realistic studies of historical figures to the bright, delicate textures of his pastoral scenes.
Though he passed away in 1888, the vision of Robert Inerarity Herdman remains undimmed. His work continues to resonate as a testament to a period when art sought to reconcile the burgeoning modern world with the ancient, enchanting echoes of the Scottish past.