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1 najbolj znanih slik umetnika Pedro Peres, vsaka popolnoma edinstvena
Posodobljeno november 2026 · uvrščeno glede na naš skoraj priljubljenosti (iskanja, obiske in naročila za vsako delo) · 1 del v našem katalogu avtorja Pedro Peres
Kratek opis
Retrato de Victor Meirelles (1900) je slika avtorja Pedro Peres, ki pritegne največ pogledov; original se nahaja v muzeju Museu Victor Meirelles, Florianópolis. Med 1 dela umetnika Pedro Peres v našem katalogu so ta 1 najbolj znana; vsako je edinstven original, predstavljen z letnico nastanka, muzejem in razlogom za njegovo nečasenost.
1841 – 1923, Lisbon
Največ del: Museu Victor Meirelles
10 najboljjših slik umetnika Pedro Peres skozi oči galerije
Muzeji, ki hranijo originala umetnika Pedro Peres
1 muzejev, ki vsebujo največ slik na tej strani.
| Muzeji | Mesto | Sloga Pedro Peres | Slike iz tega seznama |
|---|---|---|---|
 Museu Victor Meirelles |
Florianópolis | 1 | Retrato de Victor Meirelles |
Pedro Peres skozi leta: edinstvena originala vsakega dela
Vsi originali umetnika Pedro Peres z navedenim letom, ki so prikazani tukaj, pripadajo letu 1900: razvrščeni so glede na stopnjo znanosti.
Slikoritve po letih
Izberite leto in oglej originale.
Slike umetnika Pedro Peres: vprašanja za galerijo
Katero je najbolj znano delo umetnika Pedro Peres?Razkriti odgovor
Retrato de Victor Meirelles (1900)
Pri kateri dobe je Pedro Peres ustvaril Retrato de Victor Meirelles?Razkriti odgovor
59 let: delo Retrato de Victor Meirelles iz leta 1900, Pedro Peres pa je bil/a rojen/a leta 1841.
Koliko je znanih del avtorja Pedro Peres?Razkriti odgovor
Naš katalog vsebuje 1 del avtorja Pedro Peres.
Kje si lahko ogledate najslavnejše originale umetnika Pedro Peres?Razkriti odgovor
Večini v Museu Victor Meirelles (Florianópolis). Zgoraj navedena tabela muzejev vsebuje njihov celoten seznam.
Pedro Peres: portret umetnika
A Life Between Two Shores
Pedro José Pinto Peres was a man shaped by the movement between continents. Born in Lisbon, Portugal, in 1841, his early years were cut short by a significant change that would define his creative identity. At the age of five, he moved to Brazil, a transition that placed him in a new landscape where his artistic voice would eventually take root. He grew up in a country that was still finding its visual language, and he became a part of that unfolding history through his work as a painter and draftsman.
His education was formal and rigorous, grounded in the traditions of the time. He studied at the Liceu de Artes e Ofícios and later at the Academia Imperial de Belas Artes. It was within these walls that he learned to translate the world onto paper and canvas, absorbing the techniques of his instructors and the atmosphere of the imperial academy. His training provided him with the technical foundation necessary to navigate the demands of portraiture and drawing.
The Hand and the Influence
The development of his style was deeply connected to the mentors who guided him through his formative years. He did not work in isolation; instead, his hand was guided by the perspectives of those who came before him. His technical approach was shaped by several key figures:
- Chaves Pinheiro
- Agostinho José da Mota
- Vitor Meirelles
These relationships were more than mere instruction; they were the threads that connected him to the established artistic lineage of Brazil. His work reflects this lineage, particularly in his ability to capture the likeness and character of his subjects. One of his notable contributions to the visual record is his watercolor portrait of Victor Meirelles, a work that exists today in the Museu Victor Meirelles in Florianópolis.
A Quiet Legacy
By the time of his death in Rio de Janeiro in 1923, Pedro Peres had lived a long life that spanned the transition of a nation. He remained a dedicated practitioner of his craft, moving from the student in the academy to a settled artist in the Brazilian capital. His work remains a part of the historical record, preserved in collections that hold the traces of his skill. He left behind a body of work that speaks to the quiet precision of a draftsman and the observant eye of a portraitist.