Atualizado em Novembro 2026 · classificado pela nossa pontuação de popularidade (pesquisas, visitas e pedidos de cada obra) · 77 obras de Robert Smirke em nosso catálogo
Em resumo
The Cession Of Matavai é a pintura de Robert Smirke que mais atrai olhares. Depois disso, o olhar recai sobre The wreck of the 'Grosvenor' (1792) e The Earl of Sandwich Refusing to Abandon His Ship During the Battle of Solebay (1793). Entre as 77 obras de Robert Smirke em nosso catálogo, estas 77 são as mais famosas, cada uma uma original única apresentada com o seu ano, o seu museu e a razão pela qual perdura.
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
Os quatro temas que mais se repetem nestas obras originais, cada um com o seu melhor exemplo.
Os 4 museus que detêm a maioria das pinturas desta página.
| Museus | Cidade | Obras de Robert Smirke | Pinturas desta lista |
|---|---|---|---|
 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 |
Londres | 1 | The Astronomers' Club |
 Hatchlands Park |
Guildford | 1 | The Rival Waiting-women |
15 anos separam as primeiras e últimas obras originais datadas de Robert Smirke exibidas aqui, 1790 e 1804: cada ano tem o seu lugar abaixo.
Escolha um ano para ver as obras originais.
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…
Mais de 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. The wreck of the 'Grosvenor' (1792) e The Earl of Sandwich Refusing to Abandon His Ship During the Battle of Solebay (1793) vêm a seguir.
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 e Figure Study of a Nude Woman in a Wooded Landscape. O ranking acima apresenta o ano e o museu de cada uma.
Nosso catálogo contém 77 obras de Robert Smirke, datadas de 1790 a 1804.
Principalmente em Yale Center for British Art (New Haven), Upton House (Banbury) e National Maritime Museum (Londres). A tabela de museus acima lista todos eles.
Em 1792: 2 das 77 obras nesta página foram feitas então, sendo The wreck of the 'Grosvenor' delas.
Nesta página, a mais antiga é Sarah Siddons as Lady Macbeth (1790) e a mais recente é Port of Zakynthos, Greece (1804).
Women (7), Scenes (4) e Historical scene (3), entre as 77 obras nesta página.
Oil, para 4 das 77 obras nesta página.
Romanticism e Neoclassicism, a julgar pelos originais nesta página.
The Earl of Sandwich Refusing to Abandon His Ship During the Battle of Solebay, Port of Zakynthos, Greece e Woman Sleeping in the Nude in a Wooded Landscape: o Yale Center for British Art, New Haven detém 13 das obras desta página.
Na grandiosa tapeçaria da história da arte britânica, onde muitos buscavam a glória através de vastas cenas de batalha ou retratos monumentais, Robert Smirke esculpiu um nicho delicado e profundamente íntimo. Nascido em 1753 na pacata cidade de Wigton, perto de Carlisle, Smirke foi um homem cujo pincel era guiado mais pelo ritmo do verso do que pelo drama da história. Como filho de um artista itinerante, sua infância foi imersa na própria essência da observação, aprendendo a ver o mundo através de uma lente de movimento e luz muito antes de iniciar qualquer aprendizagem formal. Essa exposição precoce à vida errante instilou nele uma reverência vitalícia pelos detalhes sutis do mundo natural, uma qualidade que mais tarde definiria sua abordagem única à paisagem literária.
A jornada artística de Smirke foi de um refinamento constante e meticuloso. Após aperfeiçoar suas habilidades técnicas sob a tutela de um pintor heráldico em Londres, ele começou a emergir na esfera profissional através da Incorporated Society of Artists em 1775. Embora suas primeiras exposições fossem modestas, elas revelavam um talento florescente para capturar a elegância silenciosa de uma cena. Ele não pintava meramente paisagens; ele pintava histórias. Sua verdadeira maestria residia na capacidade de traduzir a palavra escrita em poesia visual, focando especificamente nas obras de poetas ingleses como James Thomson. Ao escolher paletas monocromáticas e composições intrincadas, Smirke criou uma sensação de atemporalidade, permitindo que o espectador entrasse diretamente nas estrofes da literatura clássica.
A ascensão de Robert Smirke nos prestigiados salões da Royal Academy serve como um testemunho de sua destreza técnica e de sua habilidade em cativar os críticos mais exigentes da época. Sua eleição como Acadêmico Associado em 1791, seguida pelo status de acadêmico pleno em 1793, marcou sua transição de um ilustrador promissor para um pilar do estabelecimento artístico britânico. Foi durante este período que suas obras mais celebradas começaram a ressoar no imaginário público. Peças como Narcissus and the Lady e Sabrina — temas extraídos de Comus, de Milton — demonstraram uma profunda sensibilidade às qualidades atmosféricas do mito e da lenda.
A obra de Smirke é caracterizada por elementos definidores que o distinguem de seus contemporâneos:
Até mesmo seu trabalho de diploma, Don Quixote and Sancho, refletia sua dedicação ao personagem e à profundidade narrativa. Embora possa não ter buscado a fama daqueles que pintavam a escala épica dos impérios, a importância histórica de Smirke reside em seu papel como um guardião visual da herança literária inglesa. Ele transformou a tela em uma página de um livro, garantindo que o romantismo dos poetas do século XVIII perdurasse através do poder duradouro de sua imaginação. Sua vida, que se estendeu do final do século XVIII até 1845, permanece como um belo capítulo na história da arte britânica — uma história contada não por proclamações estrondosas, mas pelos sussurros suaves e evocativos de um mestre contador de histórias.
