Posodobljeno november 2026 · uvrščeno glede na naš skoraj priljubljenosti (iskanja, obiske in naročila za vsako delo) · 18 del v našem katalogu avtorja James Henry Beard
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Med vsemi originali, ki jih je pustil James Henry Beard, je najbolj znan Lyman Beecher (1842), ki se nahaja v kolekciji National Portrait Gallery, Washington, D.C.. Takoj za njima sta Portrait (1859) in North Carolina Emigrants, Poor White Folk (1845). Naš katalog vsebuje 18 del umetnika James Henry Beard; galerija je ohranila 17 del, ki jih svet najbolj oboževa, odlikovanih z datumom nastanka, pripadajočim muzajem in zgodbojo.
In this 1842 oil portrait, James Henry Beard captures the presence of Lyman Beecher. The sitter meets the viewer's gaze with a quiet, heavy dignity that speaks of a life lived with significant purpose. Every brushstroke works to anchor the man within his era, presenting a figure of gravity and social standing. He sits poised, his expression carrying the weight of wisdom and the stillness of a man accustomed to…
James Henry Beard executed this oil on canvas in 1859. The work, titled Portrait, represents a significant example of the artist's specialized focus on portraiture during the mid-19th century. Beard, an American painter born in Buffalo, United States, established a reputation for capturing the character of his subjects through precise likeness and formal composition.
In this 1845 oil on canvas, a small group of settlers moves through a rural landscape. The composition centers on a man, two women, and a child positioned near a wooden trough and a horse. The figures are rendered with fine brushwork that captures the specific textures of worn fabric and skin. A sense of depth is established through atmospheric perspective, guiding the eye from the subjects on the right…
A young man sits in quiet introspection, his chin resting heavily upon folded hands atop a weathered wooden post. He is dressed in a dark brown jacket and a red neckercloth, topped by a large, floppy brown cap. At his side, a small wooden cage containing blue fabric rests near the edge of the frame. The composition is vertical, centering the subject against a turbulent, cloudy sky of muted blues…
The gaze of Lyman Beecher meets the viewer from within this 1842 oil portrait. James Henry Beard captures the man not merely as a likeness, but as a presence defined by his historical weight. The subject, a prominent American Presbyterian minister and abolitionist, sits with a quiet, heavy dignity that suggests a life of significant purpose and moral conviction. Every line on his face speaks to the gravity of his…
Moving Further Westward was painted by James Henry Beard about 1840. An American painter, Beard was born in Buffalo, United States, in 1812. He remained active in the United States throughout his career until his death in 1893 in Flushing, Queens, New York.
A formal mid-19th-century oil portrait, this bust-length study captures an elderly man in a moment of quiet composure. The subject faces toward the viewer's left, though his gaze meets the observer directly, establishing an immediate sense of intellectual presence. He is rendered with a classical realist sensibility, characterized by a somber palette of deep blacks, creamy whites, and earthy sepia tones. The lighting, descending from the upper left, carves the…
The gaze of a middle-aged man meets the viewer in this formal oil portrait, titled John Davies Jones. Painted by James Henry Beard, the work captures a moment of quiet dignity. The subject sits poised, his presence filling the space with a sense of scholarly weight. He carries the air of a man settled in his years, his expression steady and composed.
This 1870 oil portrait presents a bust-length depiction of an elderly man named Peter Gibson. The subject is positioned slightly off-center, facing toward the viewer's left while his gaze remains directed forward. He is rendered with a calm expression that suggests stability and solemnity. The composition utilizes a dark, indistinct, and atmospheric void as a background, which directs all visual attention toward the subject's face and torso. A sharp contrast…
In this bust-length portrait, James Henry Beard positions Martha Gibson centrally against a dark, indistinct background. The subject occupies the middle of the frame, emerging from a murky, charcoal-toned space that offers no distraction from her presence. A muted color palette dominates the scene, relying on deep blacks and somber, olive shadows to define the space. The light enters from the upper left, casting soft, directional shadows across the right…
John Rogers III (1866-1939)1870 · New York Historical Society
12
Studio to Let1864 · Herbert F. Johnson Museum of Art
13
DeWitt McClellan Lockman (1870-1957)1879 · New York Historical Society
14
William Henry Harrison1840 · National Portrait Gallery
15
THE LAST VICTIM OF THE DELUGE1849 · Cincinnati Art Museum
16
It Is Very Queer, Isn't ItCrystal Bridges Museum of American Art
17
Lion and Lioness1867
Četiri teme, ki se v teh originalih najpogosteje ponavljajo, vsaka z svojim vrhunskim primerom.
8 muzejev, ki vsebujo največ slik na tej strani.
| Muzej | Mesto | Sloga James Henry Beard | Slike iz tega seznama |
|---|---|---|---|
 Cincinnati Art Museum |
Cincinnati | 3 | North Carolina Emigrants, Poor White Folk, Moving Further Westward, THE LAST VICTIM OF THE DELUGE |
 New York Historical Society |
New York City | 3 | Gerard Hallock (1800–1866), John Rogers III (1866-1939), DeWitt McClellan Lockman (1870-1957) |
 Cincinnati Museum Center at Union Terminal |
Cincinnati | 3 | John Davies Jones, Peter Gibson, Martha Gibson |
 National Portrait Gallery |
Washington, D.C. | 2 | Lyman Beecher, William Henry Harrison |
 Los Angeles County Museum of Art |
Los Angeles | 1 | Portrait |
 Museum of Fine Arts |
Houston | 1 | The Young Itinerant |
 Muzej fine arts |
Boston | 1 | Lyman Beecher |
 Herbert F. Johnson Museum of Art |
Ithaca | 1 | Studio to Let |
Izberite desetletje, da si ogledate original, ki ga opredeljuje.
In this 1842 oil portrait, James Henry Beard captures the presence of Lyman Beecher. The sitter meets the viewer's gaze with a quiet, heavy dignity that speaks of a life lived with significant purpose. Every brushstroke works to anchor the man within his era, presenting a figure of gravity and social standing. He sits poised, his expression carrying the weight of wisdom and the stillness of a man accustomed to…
James Henry Beard executed this oil on canvas in 1859. The work, titled Portrait, represents a significant example of the artist's specialized focus on portraiture during the mid-19th century. Beard, an American painter born in Buffalo, United States, established a reputation for capturing the character of his subjects through precise likeness and formal composition.
In the quiet, transitional space of Studio to Let, a solitary man moves through a moment of change. Painted by James Henry Beard about 1864, the scene captures a figure who appears to be an artist in the midst of a relocation. He ascends a set of wooden stairs, his presence marked by the heavy belongings he carries, including a large rectangular case and a wooden palette. The weight of…
This 1870 oil portrait presents a bust-length depiction of an elderly man named Peter Gibson. The subject is positioned slightly off-center, facing toward the viewer's left while his gaze remains directed forward. He is rendered with a calm expression that suggests stability and solemnity. The composition utilizes a dark, indistinct, and atmospheric void as a background, which directs all visual attention toward the subject's face and torso. A sharp contrast…
Lyman Beecher (1842), National Portrait Gallery, Washington, D.C.. Zatem sledeta Portrait (1859) in North Carolina Emigrants, Poor White Folk (1845).
30 let: delo Lyman Beecher iz leta 1842, James Henry Beard pa je bil/a rojen/a leta 1812.
Lyman Beecher, Portrait, North Carolina Emigrants, Poor White Folk, The Young Itinerant, Lyman Beecher, Moving Further Westward, Gerard Hallock (1800–1866), John Davies Jones, Peter Gibson in Martha Gibson. Zgornja lestica prikazuje leto nastanka in muzej za vsako delo.
Naš katalog vsebuje 18 del avtorja James Henry Beard, datiranih od 1840 do 1879.
Večini v Cincinnati Art Museum (Cincinnati), New York Historical Society (New York City) in Cincinnati Museum Center at Union Terminal (Cincinnati). Zgoraj navedena tabela muzejev vsebuje njihov celoten seznam.
V obdobju 1840s: 8 od 17 del na tej strani je bilo izdelovanih takrat, med njimi pa Lyman Beecher.
Na tej strani je najstarejše delo iz Lyman Beecher (1840) in najstarejše iz DeWitt McClellan Lockman (1870-1957) (1879).
Man (9), Portrait (6) in White collar (5), na 17 delih na tej strani.
Oil On Canvas, za 8 od 17 del na tej strani.
North Carolina Emigrants, Poor White Folk, Moving Further Westward in THE LAST VICTIM OF THE DELUGE: v muzeju Cincinnati Art Museum, Cincinnati se nahaja 3 del z te strani.
James Henry Beard (22. april 1812 – 1893) je bil ameriški slikar, ki je svojo umetnost posvetil predvsem žanru portreta. Svojo slikovnost je dosegel skozi natančne prikaze vplutnih personalidad, medtem ko je v poznejjih letih življenja očaroval gledalce z čudovitim in nežnim prikazovanjem domačih živali.
Born in Buffalo, New York, je bil Beard sin angleških in škotskih immigrantov. Njegova umetniška nagnjenost se je izrazila že zgodaj, ko je njegova družina preselila v Ohio, kjer je njegovo talento brzo cvetel. Prav tam je začel resno izpopolnjevati svoje sposobnosti kot umetnik. Študiral je pod vodstvom Jarvisa Fraryja Hanksa v Painesvilleju v Ohio, kjer je pridobil temeljni izobrazbo, ki bo oblikovala njegovo prihodnjo kariero.
Beard je na svoji umetniški poti najprej eksperimentiral z različnimi tehnikami slikanja, vključno s tehniko akvarela, akrilom in pastelom, preden se je dokončno posvetil portretiranju kot svojemu najljubšemu žanru. Njegovi zgodnji portreti so pogosto prikazovali sofisticirane osebe, kot sta Henry Clay in John Quincy Adams. S svojim delom je pokazal izjemno sposobnost, da je na platnu zajel ne le zunanjo podobo svojih modelov, temveč tudi njihovo globoko naravo, značaj in neposredno osebnost.
Leta 1846, ko je imel 32 let, se je Beard vrnil v New York, kjer je iskal večjo prepoznavnost za svoje delo. Njegovi prizadevanja so bila nagrajena že leta 1848, ko je postal član prestižne National Academy of Design. Do leta 1870 je New York dokončno uveljavil za svoje stalno domovino.
Beard je morda najbolj znan po svoji poznejši seriji slik, ki prikazujejo pse in mačke. Ta dela odražajo igrivo in nežno senzibilnost ter vmešavo zajamejo edinstvene osebnosti teh ljubljenih ljubimcev. Ta sprememba tematik je širila njegov umetniški nabor in trdno utrdila njegov položaj v zgodovini ameriškega slikarstva.
Med njegovimi najboljši umetniškimi dosežki izstopa The Illustrious Guest (1847), portret ameriškega senatorja Henryja Claya, ki s svojo globino razkriva ne le Beardove izjemne opazovalne veščine, temveč tudi njegove politične naklonjenosti. Njegova sposobnost portretiranja živali se najbolj izrazi v delu Lion and Lioness, kjer z nepremagljivo dostojnostjo in realizmom prikazuje naravno veličastnost. Za ljubitelje njegovih bolj čuvajih in ljubkih motivov pa je idealno delo It Is Very Queer, Isn't It, ki služi kot popoln primer njegovih čarobnih in nepozabnih portretov živali.
Delo, ki ga je ustvaril James Henry Beard, nam nudi dragocen vpogled v ameriško družbo in kulturo 19. stoletja. Njegovi portreti razkrivajo globoke odmeve življenja izpostvabnih posameznikov, medtem ko njegove slike živali odražajo naraščajočo sentimentalnost in povezanost z ljubljenčmi, ki je v tistem obdobju postala vse bolj prisotna. Njegova sposobnost, da je skozi celotno svojo umetniško pot uspešno prilagajal svoj stil in tematsko okolico, dokazuje izjemno umetniško vsestranskost, ki je ostala nepozabna.
Delo, ki ga je ustvarjal James Henry Beard, je bilo tesno prepleteno z vplivom njegovega učitelja, Jarvisa Fraryja Hanksa, hkrati pa pa je k njegovemu umetniškemu izrazu prispevala širša tradicija portretiranja, ki je bila takorej prevladujoča v Ameriki 19. stoletja. Svoj navzočji umetniški zrak je črpati tudi iz dela sodobnih umetnikov in iz nenehno spreminjajočih se estetskih občutnosti, ki so oblikovale tisti čas.
Čeprav ni bil revolucionarna figura, ki bi slovensko ali svetovno umetnost temeljito preobrnila, so neomajna kakovost njegovih del in globoka, privlačna tematika zagotovili njegov trajni položaj in priznanje kot znameditnega ameriškega umetnika.
