Portrét James Peter Quinn

13 najznámejších obrazov od James Peter Quinn, výber z galérie

Aktualizované november 2026 · zoradené podľa našej miery popularity (vyhľadávanie, návštevy a objednávky pre každou prácu) · 15 dielov umelca James Peter Quinn v našom katalógu

Stručne povedané

Z všetkých originálov, ktoré James Peter Quinn zanechal, je najznámejší A Japanese Lady (1914), ktorý sa nachádza v zbierkach Walker Art Gallery v meste Liverpool. Hneď za ním nasledujú Lillias Hamilton (1858–1925), Physician (1924) a LIEUTENANT R.G. COMBE, THE VICTORIA CROSS (1910). Náš katalóg obsahuje 15 diel od James Peter Quinn; galéria si zachovala tých 13, ktoré obdivuje celý svet, pričom každý z nich je prezentovaný spolu s jeho dátumom, múzeou a príbehom.

1869 – 1951, Melbourne Najviac diel: Canadian War Museum

Top 10 obrazov umelca James Peter Quinn: výber galérie

1
A Japanese Lady (1914) od James Peter Quinn

A Japanese Lady

1914 · Oil On Canvas · Walker Art Gallery, Liverpool

A Japanese Lady is a portrait executed by James Peter Quinn in 1914. The work focuses on a woman characterized by her dark hair and traditional Asian attire. Quinn, an Australian portraitist born in Melbourne, established a significant presence in the art world through his academic training in Paris and his later service as an official war artist.

2
Lillias Hamilton (1858–1925), Physician (1924) od James Peter Quinn

Lillias Hamilton (1858–1925), Physician

1924 · Oil

The woman stands before us, draped in a heavy red cape that commands the space around her. She holds her hands clasped together, a gesture of quiet composure that suggests a mind accustomed to discipline and steady thought. Her attire, formal and purposeful, hints at a life lived within the rigorous structures of academia or the demanding precision of medicine. There is a stillness in her posture, yet the way…

3
LIEUTENANT R.G. COMBE, THE VICTORIA CROSS (1910) od James Peter Quinn

LIEUTENANT R.G. COMBE, THE VICTORIA CROSS

1910 · Oil · Canadian War Museum, Ottawa

The canvas holds a man of quiet weight. Lieutenant R.G. Combe sits in a three-quarter profile, his gaze directed toward an unseen point to the left. He wears a military tunic of deep olive green, the fabric rendered with thick, impasto strokes that suggest the heavy texture of wool. Light falls from the upper left, carving the contours of his face and casting soft, directional shadows that define the bridge…

4
LIEUTENANT COLONEL W.A. BISHOP (1910) od James Peter Quinn

LIEUTENANT COLONEL W.A. BISHOP

1910 · Oil On Canvas · Canadian War Museum, Ottawa

In the portrait LIEUTENANT COLONEL W.A. BISHOP, James Peter Quinn presents a three-quarter length depiction of the military officer. The subject is positioned slightly off-center against a dark, indeterminate background that lacks specific environmental detail. This compositional choice focuses the viewer's attention entirely on the sitter and his attire. The officer is rendered in full military regalia, which includes visible medals, insignia, and a cross-belt. The arrangement of these elements…

5
Major Okill Massey Learmonth (1918) od James Peter Quinn

Major Okill Massey Learmonth

1918 · Oil On Canvas · Canadian War Museum, Ottawa

The gaze of Major Okill Massey Learmonth meets the viewer through this formal oil portrait by the Australian portrait painter James Peter Quinn. Painted about 1918, the work captures a man defined by his service and the weight of his command. Learmonth holds the rank of acting Major in the 2nd (Eastern Ontario) Battalion of the Canadian Expeditionary Force, a position that carries a heavy sense of duty within the…

6
William Self Weeks (1934) od James Peter Quinn

William Self Weeks

1934 · Oil On Canvas

In this 1934 portrait, we find ourselves in the presence of William Self Weeks, captured in a moment of quiet, seated contemplation. The subject occupies the center of the frame, his presence established by a dark, formal suit and a waistcoat that suggests a life of significant standing. He sits within a dark wooden chair, his hands resting with a certain weight, one holding a folded piece of paper that…

Výber umelcov James Peter Quinn pokračuje, od 11 do 13

Motívy, ktoré zaujali James Peter Quinn

Štyri témy, ktoré sa v týchto origináloch najčastejšie vracajú, každá s jej najvychybenejším príkladom.

Múzeá, ktoré uchovávajú originály umelca James Peter Quinn

5 múzeá, v ktorých sa nachádza najviac obrazov z tejto stránky.

Múzeá Mesto Diela umelca James Peter Quinn Obrazy z tohto zoznamu
Canadian War Museum, OttawaCanadian War Museum Ottawa 3 LIEUTENANT R.G. COMBE, THE VICTORIA CROSS, LIEUTENANT COLONEL W.A. BISHOP, Major Okill Massey Learmonth
Art Gallery of New South Wales, SydneyArt Gallery of New South Wales Sydney 2 George Bell (artist and critic), The rendezvous
Walker Art Gallery, LiverpoolWalker Art Gallery Liverpool 1 A Japanese Lady
Government Art Collection, LondínGovernment Art Collection Londín 1 Arthur, Duke of Connaught and Strathearn (1850–1942) (copy after John Singer Sargent)
The National Trust For Scotland, ForresThe National Trust For Scotland Forres 1 Fish Market at Étaples, France

James Peter Quinn dekáda po dekáde: originál, ktorý definuje každú z nich

Diela podľa dekád

Vyberte si dekádu a pozrite si originál, ktorý ju definuje.

Otázky zberateľov o obrazoch od James Peter Quinn

Ktorým dielom je James Peter Quinn najznámejší/najznámejšia?Odhaľte odpoveď

A Japanese Lady (1914), Walker Art Gallery, Liverpool. Nasledujú Lillias Hamilton (1858–1925), Physician (1924) a LIEUTENANT R.G. COMBE, THE VICTORIA CROSS (1910).

V akom veku bol/a James Peter Quinn, keď vzniklo dielo A Japanese Lady?Odhaľte odpoveď

45 rokov: A Japanese Lady vzniklo v roku 1914 a James Peter Quinn sa narodil/a v roku 1869.

Ktorých desať najznámejších obrazov má James Peter Quinn?Odhaľte odpoveď

A Japanese Lady, Lillias Hamilton (1858–1925), Physician, LIEUTENANT R.G. COMBE, THE VICTORIA CROSS, LIEUTENANT COLONEL W.A. BISHOP, Major Okill Massey Learmonth, William Self Weeks, George Bell (artist and critic), C. J. Bowen Cooke, London and North Western Railway, Dr Robert Aitken (1869–1951) a Arthur (1850–1942), Duke of Connaught, President of the Bible Society (copy of John Singer Sargent). Vyššie uvedené hodnotenie uvádza rok a múzeu pre každé z nich.

Koľko obrazov zanechal umenec James Peter Quinn?Odhaľte odpoveď

Náš katalóg obsahuje 15 diel od umelca James Peter Quinn z perioda od 1910 do 1939.

V ktorých múzeách visia majstrovské diela umelca James Peter Quinn?Odhaľte odpoveď

Väčšinou v Canadian War Museum (Ottawa), Art Gallery of New South Wales (Sydney) a Walker Art Gallery (Liverpool). Tabuľka múzeí vyššie ich všetky uvádza.

V ktorých rokoch vytvoril James Peter Quinn svoje najznámejšie diela?Odhaľte odpoveď

V období 1930s: 5 z 13 diel na tejto stránke bolo vytvorených vtedy, pričom William Self Weeks z nich.

Aké sú prvé a posledné známe originály od James Peter Quinn?Odhaľte odpoveď

Na tejto stránke je najstaršie dielo z LIEUTENANT R.G. COMBE, THE VICTORIA CROSS (1910) a najnovšie z George Bell (artist and critic) (1939).

Aké témy si James Peter Quinn najčastejšie vyberal/a?Odhaľte odpoveď

Man (5), Chair (3) a Portrait (3), v rámci 13 diel na tejto stránke.

Ktorú techniku používal(a) James Peter Quinn najčastejšie?Odhaľte odpoveď

Oil On Canvas, pre 4 z 13 diel na tejto stránke.

Aké diela umelca James Peter Quinn sa nachádzajú v múzeu Canadian War Museum?Odhaľte odpoveď

LIEUTENANT R.G. COMBE, THE VICTORIA CROSS, LIEUTENANT COLONEL W.A. BISHOP a Major Okill Massey Learmonth: múzeá Canadian War Museum, Ottawa uchovávajú 3 z diel na tejto stránke.

James Peter Quinn: život a dielo

Early Life and Artistic Foundations

James Peter Quinn, born in Melbourne, Australia, in 1869, emerged as a significant figure in Australian portraiture at the turn of the twentieth century. His artistic journey began with formative studies under Frederick McCubbin at the National Gallery of Victoria Art School, laying a foundation steeped in the traditions of Australian landscape painting. This early exposure was broadened by tutelage from George Folingsby and Bernard Hall, further refining his skills before he embarked on an ambitious period of study in Paris between 1893 and 1901. At the Académie Julian and École des Beaux-Arts, under the guidance of Jean Paul Laurens, Quinn absorbed the techniques and aesthetic sensibilities of European academic art—a crucial step that would shape his distinctive style. His time at the Etaples art colony in northern France proved particularly influential, fostering camaraderie with fellow Australian artists like Rupert Bunny and Hilda Rix Nicholas, and exposing him to a vibrant artistic community.

The Rise of a Portraitist

By 1904, Quinn had firmly established himself as a highly sought-after portrait painter. His work resonated with an audience captivated by his ability to capture not merely likenesses but the very essence of his sitters. Exhibiting at the prestigious Royal Academy of Arts signaled his arrival on the international art scene. The recognition he received in 1912, with an honourable mention for *Mère et Fils* (a portrait of his wife and son) at the Salon in Paris, further cemented his reputation. This success led to a series of commissions from prominent figures—Joseph Chamberlain, the Duchess of York, and even the Duke of Windsor all entrusted their portraits to Quinn’s skilled hand. He possessed an innate talent for conveying social status and personality through meticulous detail and subtle nuances of expression.

Wartime Service and the Portrait of Monash

The outbreak of World War I brought a new dimension to Quinn's career, as he was appointed official war artist for the First AIF. While tasked with documenting the conflict, his focus shifted towards portraying the officers serving in France. This period proved fraught with challenges, marked by friction with authorities and fellow artists—a testament to his independent spirit and uncompromising artistic vision. However, it also yielded one of his most enduring masterpieces: the portrait of General Sir John Monash, Commander-in-Chief of the Australian Corps. Monash, a pivotal figure in the Allied victory at Amiens in 1918, became an iconic subject for Quinn. The resulting portrait, celebrated for its powerful depiction of leadership and integrity, remained within the Monash-Bennett family for decades before being gifted to the National Portrait Gallery of Australia in Canberra. It served as the model for the prestigious Monash Medal, awarded annually to Australians who demonstrate exceptional service to their community.

Later Years and Artistic Legacy

Following his wartime experiences, Quinn continued his work with Canadian War Records before returning to Australia in December 1935 after the tragic loss of his son René. Back on Australian soil, he rejoined the Victorian Artists Society, even serving as its president for a remarkable twelve years. He also became a founding member of the Australian Academy of Art, an organisation established by Robert Menzies that championed traditional artistic values. Despite his conservative affiliations, Quinn’s openness to modern art often led to public confrontations and debates—underscoring his complex relationship with the evolving art world. Throughout his later years, he continued to exhibit his paintings and impart his knowledge as a teacher at the National Gallery of Victoria Art School. A commemorative exhibition in 1980, curated by Alison Fraser, brought renewed attention to his portraiture, rescuing it from relative obscurity and solidifying his place in Australian art history. Quinn’s legacy lies not only in his masterful portraits but also in his ability to capture the spirit of an era—a testament to his enduring artistic vision and unwavering commitment to his craft.