Oppdatert November 2026 · rangert etter vår popularitetsscore (søk, besøk og bestillinger for hvert verk) · 77 verk av Robert Smirke i vår katalog
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The Cession Of Matavai er maleriet av Robert Smirke som vekker mest oppmerksomhet. Deretter går blikket til The wreck of the 'Grosvenor' (1792) og The Earl of Sandwich Refusing to Abandon His Ship During the Battle of Solebay (1793). Blant de 77 verkene til Robert Smirke i vår katalog, er disse 77 de mest kjente – hver og en et unikt originalverk presentert med sitt årstall, sitt museum og årsaken til at det består.
In The Cession Of Matavai, Robert Smirke presents a complex historical scene centered on the era of European colonization in the Pacific. The work captures a moment of profound cultural encounter, focusing on the tension between two distinct worlds. Smirke, an artist known for his ability to translate narrative depth into visual form, uses this setting to explore themes of power and the shifting dynamics of dominance and vulnerability.
In The wreck of the 'Grosvenor' by Robert Smirke, the chaos of a maritime disaster unfolds before the eyes. This scene captures the harrowing moment an East Indiaman meets its end. The vessel, a three-masted ship of 729 tons, struggles against the fury of the sea. It is a moment frozen in time, reflecting the tragedy that occurred on 4 August 1782. The water churns with a violent energy that…
The oil painting titled The Earl of Sandwich Refusing to Abandon His Ship During the Battle of Solebay was executed by the artist Robert Smirke. This work dates to about 1793. The canvas depicts a specific moment of naval combat, focusing on the central figure of the Earl of Sandwich. The subject matter centers on themes of courage, duty, and leadership during the Battle of Solebay.
The artwork titled Falstaff rebuked was painted by the English painter and illustrator Robert Smirke. This specific work dates to 1795. The piece is an oil on canvas that captures a scene of confrontation between a youthful, regal figure and an older, disheveled man.
The composition centers on a single female figure positioned within a dramatic setting. She is depicted in the role of Lady Macbeth, captured in a moment of intense psychological tension. The subject's posture and facial expression convey a sense of internal turmoil. Her gaze is directed away from the viewer, focused on an unseen point of distress. The lighting emphasizes the contours of her face and the heavy folds of…
The Awakening of King Lear by Robert Smirke centers on a dramatic moment of human interaction. An elderly man with a white beard sits in a large chair, serving as the focal point of the composition. Kneeling before him is a woman in white and light blue drapery, her posture suggesting a gesture of supplication or comfort. This central pairing is framed by two other men who observe the scene…
To gaze upon this depiction of the Port of Zakynthos is to be instantly transported across the azure expanse of the Aegean Sea, far from the clamor of modern life. This work captures not merely a harbor scene, but a moment suspended in time—a vibrant tableau vivant rendered with the delicate precision characteristic of early nineteenth-century topographical studies. The composition itself sings of industry and repose; boats, some moored peacefully…
A Scene From 'the Busybody' From By Mrs Centlivre is a painting by the artist Robert Smirke. This work depicts a specific moment taken from the play written by Mrs Centlivre. The composition captures a dramatic instance from the theatrical text, focusing on the interactions between the characters within a domestic setting.
Diana and ActaeonYale Center for British Art
12
Juliet Nurse
13
Lady Jane Grey
14
The Slaughter Of The Suitors Of Penelope
15
Title Not Known - (10)
16
The SoldierYale Center for British Art
17
Title Not Known -
18
The Afflicted Matron, The Countess Trifaldi, From 'don Quixote'
19
'henry Iv', Part I, Act Ii, Scene 1, The Inn Yard With Gadshill And The Carriers
20
King Lear
21
Mary Isabella Somerset
22
The Treachery Of Colonel Kirke
23
Ulysses And Nausicä
24
Children Playing
25
Cromwell suppressing the mutiny in the army
26
Ulysses Discovered By His Nurse
27
Sancho Panza And The Duchess
28
His Majesty Reviewing The Volunteer Corps Assembled In Hyde Park, In Honour Of His Birthday
29
The Deserter Apprehended
30
The Merry Wives Of Windsor
31
The Martyrdom of Archbishop Cranmer
32
The SchoolboyYale Center for British Art
33
Kneeling female figure with a cup
34
Title Not Known -
35
Title Not Known -
36
The LoverYale Center for British Art
37
Title Not Known
38
Title Not Known -
39
The Order Of Knighthood Conferred On Don Quixote By The Inn Keeper
40
Title Not Known - (9)
41
Title Not Known -
42
Casimire And Lady Pentweazel, From Samuel Foote's Taste
43
Title Not Known -
44
The Astronomers' ClubNational Maritime Museum
45
Don Quixote And Sancho Panza
46
The JusticeYale Center for British Art
47
The InfantYale Center for British Art
48
The Rivals
49
Scene From Samuel Richardson's Pamela
50
Mrs Henry Siddons
51
Melinda And Lucy Consult Kite
52
He Seven Ages Of Man The PantaloonYale Center for British Art
53
Title Not Known - (11)
54
Much Ado About Nothing
55
Lady Pentweazle From Samuel Foote's 'taste'Upton House
56
The Rivals from `Tom Jones
57
Title Not Known - (8)
58
The Two Sons Of Tipu Sahib, Sultan Of MysoreYale Center for British Art
59
Measure For Measure
60
Scene From Bickerstaffe's Play 'the Hypocrite'
61
Falstaff Disguised As Herne With Mrs Ford And Mrs Page
62
The Scandal
63
The Duel
64
Second ChildishnessYale Center for British Art
65
Young Man Lifted From A River, Apparently Drowned
66
The Merry Wives Of Windsor -
67
Scipio And The Hermit
68
Don Quixote At Home, After The Termination Of His Second Sally
69
'henry Iv', Part I, Act V, Scene 4, Falstaff And The Dead Body Of Hotspur
70
The Sleeper Awakened
71
Illustration From Francis Beaumont And John Fletcher's 'the Humorous Lieutenant'
72
Title Not Known -
73
Resuscitation By Doctor Hawes Of A Man Believed Drowned
74
A Scene From 'taste' A Play By Samuel Foote
75
Illustration To Le Strange's 'gil Blas'
76
'love For Love' By William Congreve
77
The Rival Waiting-womenHatchlands Park
De fire motivene som går igjen hyppigst i disse originalverkene, hver med sitt fremste eksempel.
De 4 museene som innehar flest av maleriene på denne siden.
| Museum | By | Verker av Robert Smirke | Malerier fra denne listen |
|---|---|---|---|
 Yale Center for British Art |
New Haven | 13 | The Earl of Sandwich Refusing to Abandon His Ship During the Battle of Solebay, Port of Zakynthos, Greece, Woman Sleeping in the Nude in a Wooded Landscape |
 Upton House |
Banbury | 2 | A Scene From 'the Busybody' From By Mrs Centlivre, Lady Pentweazle From Samuel Foote's 'taste' |
 National Maritime Museum |
London | 1 | The Astronomers' Club |
 Hatchlands Park |
Guildford | 1 | The Rival Waiting-women |
15 år skiller Robert Smirkes første og siste daterte originaler vist her, 1790 og 1804: hvert år har sin plass nedenfor.
Velg et år for å se originalverkene.
The composition centers on a single female figure positioned within a dramatic setting. She is depicted in the role of Lady Macbeth, captured in a moment of intense psychological tension. The subject's posture and facial expression convey a sense of internal turmoil. Her gaze is directed away from the viewer, focused on an unseen point of distress. The lighting emphasizes the contours of her face and the heavy folds of…
In The wreck of the 'Grosvenor' by Robert Smirke, the chaos of a maritime disaster unfolds before the eyes. This scene captures the harrowing moment an East Indiaman meets its end. The vessel, a three-masted ship of 729 tons, struggles against the fury of the sea. It is a moment frozen in time, reflecting the tragedy that occurred on 4 August 1782. The water churns with a violent energy that…
Mer fra 1792
The oil painting titled The Earl of Sandwich Refusing to Abandon His Ship During the Battle of Solebay was executed by the artist Robert Smirke. This work dates to about 1793. The canvas depicts a specific moment of naval combat, focusing on the central figure of the Earl of Sandwich. The subject matter centers on themes of courage, duty, and leadership during the Battle of Solebay.
The artwork titled Falstaff rebuked was painted by the English painter and illustrator Robert Smirke. This specific work dates to 1795. The piece is an oil on canvas that captures a scene of confrontation between a youthful, regal figure and an older, disheveled man.
To gaze upon this depiction of the Port of Zakynthos is to be instantly transported across the azure expanse of the Aegean Sea, far from the clamor of modern life. This work captures not merely a harbor scene, but a moment suspended in time—a vibrant tableau vivant rendered with the delicate precision characteristic of early nineteenth-century topographical studies. The composition itself sings of industry and repose; boats, some moored peacefully…
The Cession Of Matavai. Deretter følger The wreck of the 'Grosvenor' (1792) og The Earl of Sandwich Refusing to Abandon His Ship During the Battle of Solebay (1793).
The Cession Of Matavai, The wreck of the 'Grosvenor', The Earl of Sandwich Refusing to Abandon His Ship During the Battle of Solebay, Falstaff rebuked, Sarah Siddons as Lady Macbeth, The Awakening of King Lear, Port of Zakynthos, Greece, A Scene From 'the Busybody' From By Mrs Centlivre, Woman Sleeping in the Nude in a Wooded Landscape og Figure Study of a Nude Woman in a Wooded Landscape. Rangeringen ovenfor viser årstall og museum for hvert verk.
Vår katalog inneholder 77 verk av Robert Smirke, datert fra 1790 til 1804.
Hovedsakelig i Yale Center for British Art (New Haven), Upton House (Banbury) og National Maritime Museum (London). Museumslisten ovenfor viser alle.
I 1792: 2 av de 77 verkene på denne siden ble laget da, The wreck of the 'Grosvenor' av dem.
På denne siden er det eldste Sarah Siddons as Lady Macbeth (1790) og det nyeste Port of Zakynthos, Greece (1804).
Women (7), Scenes (4) og Historical scene (3), fordelt på 77 verk på denne siden.
Oil, for 4 av de 77 verkene på denne siden.
Romanticism og Neoclassicism, basert på originalene på denne siden.
The Earl of Sandwich Refusing to Abandon His Ship During the Battle of Solebay, Port of Zakynthos, Greece og Woman Sleeping in the Nude in a Wooded Landscape: Yale Center for British Art, New Haven har 13 av verkene på denne siden.
I den storslåtte veven av britisk kunsthistorie, der mange søkte ære gjennom vidstrakte battlescener eller monumentale portretter, meislet Robert Smirke ut en delikat og dypt personlig nisje. Han ble født i 1753 i den stille byen Wigton, nær Carlisle, og var en mann hvis pensel ble ledet mer av versenes rytme enn av historiens drama. Som sønn av en reisende kunstner var barndommen hans gjennomsyret av selve essensen av observasjon; han lærte å se verden gjennom et prisme av bevegelse og lys lenge før han i det hele tatt begynte i et formelt læreforhold. Denne tidlige eksponeringen for det vandrende livet inngav i ham en livslang ærbødighet for den naturlige verdens subtile detaljer, en kvalitet som senere skulle definere hans unike tilnærming til det litterære landskapet.
Smirkes kunstneriske reise var preget av en stødig og nitid foredling. Etter å ha slipt sine tekniske ferdigheter under en heraldisk maler i London, begynte han å tre frem i den profesjonelle sfæren gjennom Incorporated Society of Artists i 1775. Selv om hans tidlige utstillinger var beskjedne, avslørte de et spirende talent for å fange en scenes stille eleganse. Han malte ikke bare landskap; han malte historier. Hans sanne mesterskap lå i evnen til å oversette det skrevne ord til visuell poesi, med et spesielt fokus på verkene til engelske poeter som James Thomson. Ved å velge monokrome paletter og intrikate komposisjoner, skapte Smirke en følelse av tidløshet som lot betrakteren tre direkte inn i versene fra klassisk litteratur.
Robert Smirkes oppstigning innenfor de prestisjetunge salene i Royal Academy står som et vitnesbyrd om hans tekniske dyktighet og hans evne til å fange de mest kresne kritikerne i sin samtid. Hans valg som assosiert akademiker i 1t91, etterfulgt av full akademikerstatus i 1793, markerte overgangen fra en lovende illustratør til en hjørnestein i det britiske kunstetablissementet. Det var i denne perioden at hans mest berømte verk begynte å resonnere med publikums fantasi. Verk som Narcissus and the Lady og Sabrina—motiver hentet fra Miltons Comus—demonstrerte en dyp følsomhet for de atmosfæriske kvalitetene i myter og legender.
Smirkes arbeid kjennetegnes av flere definerende elementer som skilte ham fra hans samtidige:
Selv hans diplomarbeid, Don Quixote and Sancho, reflekterte hans dedikasjon til karakter og narrativ dybde. Selv om han kanskje ikke søkte berømmelsen til de som malte imperiets episke skala, ligger Smirkes historiske betydning i hans rolle som en visuell vokter av den engelske litterære arven. Han forvandlet lerretet til en side i en bok, og sikret at romantikken hos 1700-tallets poeter ville bestå gjennom kraften i hans bilder. Hans liv, som strakte seg fra slutten av det 18. århundre til 1845, forblir et vakkert kapittel i den britiske kunsthistorien—en historie fortalt ikke gjennom høyrøstede proklamasjoner, men gjennom de myke, stemningsfulle hviskene fra en mesterlig historieforteller.
