Posodobljeno november 2026 · uvrščeno glede na naš skoraj priljubljenosti (iskanja, obiske in naročila za vsako delo) · 19 del v našem katalogu avtorja Róbert Berény
Kratek opis
Med vsem originalom, ki ga je Róbert Berény pustil, je najbolj znan Spanča z črno vazo (1920). Takoj za njima sta A Chinese Princess at a Shrine (1696) in A Chinese Empress in a Chariot (1696). Naš katalog vsebuje 19 del umetnika Róbert Berény; galerija je ohranila 19 del, ki jih svet najbolj oboževa, odlikovanih z datumom nastanka, pripadajočim muzajem in zgodbojo.
V tem oljnem na platnu, z naslovom "Spanča z črno vazo", se umetnik Róbert Berény usmerja svoj pogled v globoko osebno temo. Delo predstavlja portret Eta Berény, umetnikove druge žene, zajeto v trenutku tihe utopije. Naslikano med letoma 1927 in 1928, to delo ponuja vpogled v zasebno življenje slikarja skozi figuro Eta, ki je prikazana z tipično frizuro 1920-letnic. Nosi modroesem in se polaga na način, ki definiše celotno kompozicijo.
A Chinese Dignitary in a Boat1696
12
Landscape with a Man and a DogHenley-on-thames Town Hall
13
Travellers Resting in a Mountainous LandscapeHenley-on-thames Town Hall
14
Fishing SceneHenley-on-thames Town Hall
15
TreeHenley-on-thames Town Hall
16
Hunting by the RiverHenley-on-thames Town Hall
17
Hunting in the WoodsHenley-on-thames Town Hall
18
Fox Hunting with Mounted Riders in the ForegroundHenley-on-thames Town Hall
19
Capriccio of an Imaginary Formal Garden and HouseGovernment Art Collection
3 muzejev, ki vsebujo največ slik na tej strani.
| Muzej | Mesto | Sloga Róbert Berény | Slike iz tega seznama |
|---|---|---|---|
 Henley-on-thames Town Hall |
Thames | 7 | Landscape with a Man and a Dog, Travellers Resting in a Mountainous Landscape, Fishing Scene |
 Madžarska nacionalna galerija |
Budimpešta | 1 | Cellist |
 Government Art Collection |
London | 1 | Capriccio of an Imaginary Formal Garden and House |
V obdobju necelo desetletja, od 1920 do 1928, je ta izdelek temโลกu ponudil vsako datirano originalno delo umetnika Róbert Berény v tej izbiri: tukaj je, leto za letom.
Izberite leto in oglej originale.
V tem oljnem na platnu, z naslovom "Spanča z črno vazo", se umetnik Róbert Berény usmerja svoj pogled v globoko osebno temo. Delo predstavlja portret Eta Berény, umetnikove druge žene, zajeto v trenutku tihe utopije. Naslikano med letoma 1927 in 1928, to delo ponuja vpogled v zasebno življenje slikarja skozi figuro Eta, ki je prikazana z tipično frizuro 1920-letnic. Nosi modroesem in se polaga na način, ki definiše celotno kompozicijo.
Spanča z črno vazo (1920). Zatem sledeta A Chinese Princess at a Shrine (1696) in A Chinese Empress in a Chariot (1696).
33 let: delo Spanča z črno vazo iz leta 1920, Róbert Berény pa je bil/a rojen/a leta 1887.
Spanča z črno vazo, A Chinese Princess at a Shrine, A Chinese Empress in a Chariot, A Chinese Dignitary Seated on a Throne, A Chinese Dignitary Riding a Fish, Cellist, Fishermen in a Gorge, A Chinese Fisherman Hunting a Crocodile, An Archer Hunting an Ibex in A Band of Tartar Horsemen Hunting an Elk. Zgornja lestica prikazuje leto nastanka in muzej za vsako delo.
Naš katalog vsebuje 19 del avtorja Róbert Berény, datiranih od 1920 do 1928.
Večini v Henley-on-thames Town Hall (Thames), Madžarska nacionalna galerija (Budimpešta) in Government Art Collection (London). Zgoraj navedena tabela muzejev vsebuje njihov celoten seznam.
Na tej strani je najstarejše delo iz Spanča z črno vazo (1920) in najstarejše iz Cellist (1928).
Landscape with a Man and a Dog, Travellers Resting in a Mountainous Landscape in Fishing Scene: v muzeju Henley-on-thames Town Hall, Thames se nahaja 7 del z te strani.
In the grand tapestry of twentieth-century intellectual history, few figures loom as uniquely as Sir Robert Robinson. To the scientific community, he was a titan of organic chemistry, a Nobel laureate whose mastery over molecular structures redefined our understanding of life's very building blocks. Yet, beneath the rigorous precision of the laboratory bench beat the heart of a visionary painter, an artist capable of translating the complexities of the natural world into evocative, dreamlike landscapes. This rare duality—the marriage of scientific exactitude and artistic imagination—allowed Robinson to approach the canvas with a singular perspective, where the structural logic of chemistry met the fluid beauty of the sublime.
Born on September 13th, 1886, at Rufford House Farm near Chesterfield, Derbyshire, Robinson’s early life was steeped in an environment that nurtured both inquiry and observation. The son of James Bradbury Robinson, a skilled maker of surgical dressings, he was raised amidst the scents and certainties of science. His academic journey through Chesterfield Grammar School and the University of Manchester provided the foundational discipline that would later characterize his groundbreaking research into alkaloids and plant dyestuffs. However, it was this very foundation of structural analysis that perhaps most profoundly influenced his artistic eye; he did not merely see a landscape, but understood the intricate, interconnected systems that composed it.
As his scientific career ascended—marked by prestigious appointments at the University of Sydney, Liverpool, and ultimately Oxford—Robinson’s artistic voice began to emerge with increasing distinctiveness. His work often transcends the boundaries of traditional landscape painting, venturing into realms that blend Orientalist influences with a profound sense of fantasy. One might encounter his canvases and find themselves lost in scenes such as "A Chinese Dignitary Riding a Fish," where the boundaries between reality and myth dissolve into vibrant, symbolic detail. This ability to weave classical Chinese motifs with a Western painterly technique creates a tension that is both captivating and deeply unsettling in its beauty.
His landscapes are rarely mere topographical records; instead, they serve as windows into an imagined topography. In works like "Travellers Resting in a Mountainous Landscape," Robinson utilizes a style reminiscent of the Baroque and Romantic traditions to evoke a sense of atmospheric depth and human connection. He possesses a remarkable talent for capturing the quietude of nature—the stillness of a river valley or the heavy mist clinging to a peak—while simultaneously imbuing these scenes with an underlying sense of wonder. His brushwork often balances a meticulous attention to texture and light with a more fluid, imaginative embellishment that suggests a world governed by different, perhaps more magical, physical laws.
The historical significance of Robert Robinson lies in his refusal to be confined by the boundaries of a single discipline. While his invention of the curly arrow notation revolutionized how chemists visualize electron movement, his paintings revolutionized how we might perceive the intersection of the real and the imagined. He proved that the analytical mind does not preclude the poetic soul; rather, they can exist in a symbiotic state, where the study of a molecule and the study of a sunset are both quests for fundamental truth.
Today, his body of work stands as a testament to a life lived in pursuit of discovery. Whether examining the molecular architecture of morphine or painting the lush greenery of "Hunting by the River," Robinson remained eternally attuned to the intricate patterns of existence. His legacy is found not only in the textbooks of organic chemistry but in the enduring, evocative power of his canvases, which continue to invite viewers into a world where science and art are one.
