Atualizado em Novembro 2026 · classificado pela nossa pontuação de popularidade (pesquisas, visitas e pedidos de cada obra) · 116 obras de Daniel Huntington em nosso catálogo
Em resumo
De todas as obras originais deixadas por Daniel Huntington, a mais famosa é Samuel Francis Du Pont (1867), da coleção do National Portrait Gallery, em Washington, D.C.. Logo atrás vêm Carl Schurz (1899) e William C. Prime (1892). Nosso catálogo contém 116 obras de Daniel Huntington; a galeria preservou as 100 que o mundo mais admira, cada uma exibida com sua data, seu museu e sua história.
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 · Museu de Arte do Condado de Los Angeles
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 AmoryMuseu Nacional de Varsóvia
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
Os quatro temas que mais se repetem nestas obras originais, cada um com o seu melhor exemplo.
Os 8 museus que detêm a maioria das pinturas desta página.
| Museus | Cidade | Obras de Daniel Huntington | Pinturas desta lista |
|---|---|---|---|
 New York Historical Society |
Nova York | 26 | A Sibyl, Philip Hone (1780–1851), Henry Woodward Cooper and His Brother |
 Metropolitan Museum of Art |
Nova 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 |
Nova York | 1 | Laura Prime Jay (Mrs. John Clarkson Jay) |
Escolha uma década para ver a obra original que a define.
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.. Carl Schurz (1899) e William C. Prime (1892) vêm a seguir.
51 anos: Samuel Francis Du Pont data de 1867, e Daniel Huntington nasceu em 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) e Henry Woodward Cooper and His Brother. O ranking acima apresenta o ano e o museu de cada uma.
Nosso catálogo contém 116 obras de Daniel Huntington, datadas de 1837 a 1899.
Principalmente em New York Historical Society (Nova York), Metropolitan Museum of Art (Nova York) e National Portrait Gallery (Washington, D.C.). A tabela de museus acima lista todos eles.
Em 1850s: 14 das 100 obras nesta página foram feitas então, sendo Gulian Crommelin Verplanck delas.
Nesta página, a mais antiga é Landscape (1837) e a mais recente é Carl Schurz (1899).
Man (39), Portrait (23) e Dark background (15), entre as 100 obras nesta página.
Oil On Canvas, para 44 das 100 obras nesta página.
Hudson river school, a julgar pelos originais nesta página.
A Sibyl, Philip Hone (1780–1851) e Henry Woodward Cooper and His Brother: o New York Historical Society, Nova York detém 26 das obras desta página.
Nascido na cidade de Nova York, Daniel Huntington emergiu como uma figura fundamental no cenário artístico americano, entrelaçando o naturalismo sereno da Hudson River School com a precisão digna do retrato clássico. Sua jornada teve início com uma base acadêmica rigorosa; após ingressar na Smith's Academy em New Haven, ele deu continuidade aos seus estudos no Yale College sob a orientação do lendário Samuel F. B. Morse e, posteriormente, de Henry Inman. Essa exposição precoce a mestres da composição e do detalhe definiria a integridade estrutural de suas obras futuras. Seu espírito artístico foi ainda mais refinado por viagens pela Europa, onde a luz e a atmosfera de Roma, Florença e Paris deixaram uma marca indelével em sua paleta.
A evolução da carreira de Huntington é um estudo fascinante de transição estilística. Em seus primeiros anos, ele abraçou as tradições de paisagem de sua era, capturando a beleza sublime da natureza selvagem americana. No entanto, à medida que sua reputação crescia, ele voltou-se para o íntimo e o humano, estabelecendo-se como um mestre do retrato. Essa mudança permitiu-lhe explorar a profundidade psicológica de seus modelos, que variavam de figuras históricas a líderes contemporâneos. Sua habilidade em equilibrar a iluminação dramática do Romantismo com uma abordagem meticulosa e realista permitiu-lhe capturar não apenas a semelhança física, mas a própria essência daqueles que posavam para ele.
Para além da tela, Huntington foi um pilar do estabelecimento artístico americano. Seus papéis de liderança foram instrumentais na formação das instituições que continuam a salvaguardar o patrimônio americano hoje. Sua dedicação ao ofício refletiu-se em suas contribuições significativas para diversas organizações prestigiadas:
Seu repertório era notavelmente diverso, abrangendo desde obras-primas alegóricas como "Mercy's Dream" — uma obra que lhe trouxe fama mundial através de seu simbolismo divino — até retratos profundos de presidentes dos Estados Unidos, incluindo Abraham Lincoln e Martin Van Buren. Quer estivesse ilustrando a jornada espiritual de The Pilgrim's Progress ou capturando a quietude de um estudo florestal, o trabalho de Huntington permaneceu ancorado em um profundo respeito pela narrativa e pela verdade. Através de seu duplo legado como pintor e líder institucional, ele ajudou a assegurar um lugar duradouro para a arte americana no cenário global.
