Aktualizacja: Listopad 2026 · ranking według naszego wskaźnika popularności (liczba wyszukiwań, wizyt i zamówień dla każdego dzieła) · 116 dzieł Daniel Huntington w naszym katalogu
W skrócie
Spośród wszystkich dzieł oryginalnych, które pozostawił Daniel Huntington, najsłynniejszym jest Samuel Francis Du Pont (1867), znajdujący się w kolekcji National Portrait Gallery w Waszyngton. Tuż za nimi znajdują się Carl Schurz (1899) oraz William C. Prime (1892). Nasz katalog zawiera 116 dzieł autorstwa Daniel Huntington; galeria zachowała 100 najbardziej podziwianych na świecie prac, z których każda została przedstawiona wraz z datą powstania, informacją o muzeum oraz jej historią.
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
John Adams Dix (1798–1879)1879 · New York Historical Society
69
Late Afternoon on the Susquehanna1884
70
Lake Minnewaska1889
71
Lake Minnewaska after Showers1889
72
Justice and Peace1886 · Detroit Institute of Arts
73
The Delaware, East Branch, Walton
74
Balance Rock, Pine Hill, Walton
75
Mrs sylvester deringMetropolitan Museum of Art
76
Rock Study 1
77
Portrait of Mr. Renton
78
Portrait of Willard Parker
79
On the Rondout
80
Seated Male Nude
81
Nicoll Havens Dering
82
Portrait of a Woman
83
The EndMetropolitan Museum of Art
84
Mr. Mason by the Sea
85
William AmoryMuzeum Narodowe w Warszawie
86
Dr. John W. FrancisCleveland Museum of Art
87
Portrait of a lady in a white dress, said to be Emily Astor
88
Colonel David Lion Gardiner
89
Portrait of John Lyon Gardiner
90
Portrait of Mrs. John Lyon Gardiner
91
Abraham Alfonse Albert GallatinHarvard Art Museums
92
Study In A WoodMetropolitan Museum of Art
93
Anna Watson Stuart
94
Mercy's Dream
95
Anna Watson Stuart1862 · Metropolitan Museum of Art
96
(Theodore Roosevelt, Senior)1884 · Sagamore Hill National Historic Site
97
Chocorua Peak, New HampshireNew York Historical Society
98
Black Mountain, Lake George
99
Hudson
100
Mohonk 1
Cztery motywy najczęściej powracające w tych oryginałach, z których każdy doczekał się swojego najdoskonalszego przykładu.
8 muzeów, w których znajduje się najwięcej obrazów z tej strony.
| Muzea | Miasto | Dzieła artysty Daniel Huntington | Obrazy z tej listy |
|---|---|---|---|
 New York Historical Society |
Nowy Jork | 27 | A Sibyl, Philip Hone (1780–1851), Henry Woodward Cooper and His Brother |
 Metropolitan Museum of Art |
Nowy Jork | 11 | William C. Prime, Mercy's Dream, Mrs. Birdsall Cornell |
 National Portrait Gallery |
Waszyngton | 8 | Samuel Francis Du Pont, Carl Schurz, William Cullen Bryant |
 Smithsonian American Art Museum |
Waszyngton | 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 |
Waszyngton | 3 | Dr. James Hall, Dr. John Edwards Holbrook, Henry Theodore Tuckerman |
 Museum of the City of New York |
Nowy Jork | 1 | Laura Prime Jay (Mrs. John Clarkson Jay) |
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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, Waszyngton. Następne są Carl Schurz (1899) oraz William C. Prime (1892).
51 lat: Samuel Francis Du Pont pochodzi z 1867, a Daniel Huntington urodził(a) się w 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) i Henry Woodward Cooper and His Brother. Powyższy ranking zawiera rok powstania oraz muzeum dla każdego z nich.
Nasz katalog zawiera 116 dzieł artysty Daniel Huntington, datowanych od 1837 do 1899.
W większości znajdują się w New York Historical Society (Nowy Jork), Metropolitan Museum of Art (Nowy Jork) i National Portrait Gallery (Waszyngton). Powyższa tabela muzeów zawiera ich pełną listę.
W 1870s: 15 z 100 dzieł na tej stronie powstało w tym czasie, w tym Robert Charles Winthrop (1809-1894).
Na tej stronie najwcześniejszy to Landscape (1837), a najpóźniejszy Carl Schurz (1899).
Man (39), Portrait (23) i Dark background (15), w ramach 100 dzieł na tej stronie.
Oil On Canvas, dla 42 z 100 dzieł na tej stronie.
Hudson river school, sądząc po oryginałach na tej stronie.
A Sibyl, Philip Hone (1780–1851) i Henry Woodward Cooper and His Brother: New York Historical Society, Nowy Jork posiada 27 dzieł widocznych na tej stronie.
Urodzony w Nowym Jorku, Daniel Huntington wyłonił się jako kluczowa postać w amerykańskim krajobrazie artystycznym, umiejętnie splatając spokojny naturalizm Szkoły Hudson River z godną precyzją klasycznego portretu. Jego droga rozpoczęła się od rygorystycznych fundamentów akademickich; po wstąpieniu do Smith's Academy w New Haven, kontynuował studia na Yale College pod okiem legendarnego Samuela F. B. Morse'a, a później Henry'ego Inmana. Ta wczesna styczność z mistrzami kompozycji i detalu zdefiniowała strukturalną integralność jego przyszłych dzieł. Jego artystyczny duch został dodatkowo uszlachetniony przez podróże po Europie, gdzie światło i atmosfera Rzymu, Florencji oraz Paryża pozostawiły niezatarte piętno na jego palecie barw.
Ewolucja kariery Huntingtona stanowi fascynujące studium stylistycznej transformacji. W swoich wczesnych latach przyjął tradycje pejzażowe swojej epoki, chwytając podniosłe piękno amerykańskiej dziczy. Jednak wraz ze wzrostem sławy, zwrócił się ku temu, co intymne i ludzkie, ugruntowując swoją pozycję jako czołowy portrecista. Ta zmiana pozwoliła mu zgłębić psychologiczną głębię swoich modeli, od postaci historycznych po współczesnych przywódców. Umiejętność balansowania między dramatycznym oświetleniem romantyzmu a skrupulatnym, realistycznym podejściem umożliwiła mu uchwycenie nie tylko podobieństwa, ale samej esencji osób, które pozowały przed jego płótnem.
Poza samym płótnem, Huntington był filarem amerykańskiego środowiska artystycznego. Jego role przywódcze odegrały kluczowe znaczenie w kształtowaniu instytucji, które do dziś strzegą amerykańskiego dziedzictwa. Jego oddanie sztuce znalazło odzwierciedlenie w znaczącym wkładzie w działalność kilku prestiżowych organizacji:
Jego repertuar był niezwykle różnorodny, obejmując zarówno alegoryczne arcydzieła, takie jak "Sen Miłosierdzia" — dzieło, które przyniosło mu szeroką sławę dzięki swojej boskiej symbolice — jak i głębokie portrety prezydentów Stanów Zjednoczonych, w tym Abrahama Lincolna oraz Martina Van Burena. Bez względu na to, czy ilustrował duchową podróż w Przebudzeniu pielgrzyma, czy też chwytał ciszę leśnego studium, twórczość Huntingtona pozostawała zakotwiczona w głębokim szacunku do narracji i prawdy. Poprzez swoje podwójne dziedzictwo malarza i lidera instytucjonalnego, pomógł on zapewnić amerykańskiej sztuce trwałe miejsce na światowej scenie.
