Ažurirano: новембар 2026 · rangirano prema našem koeficijentu popularnosti (pretrage, posete i porudžbine za svako delo) · 105 dela Džon Džekson u našem katalogu
Ukratko
Od svih originala koje je Džon Džekson ostavio, najpoznatiji je Portrait of a Man (1822), koji se nalazi u kolekciji Harvard Art Museums, Kembriđ. Odmah za njima slede Reverend William Holwell Carr (1827) i Portrait of a Gentleman (1810). Naš katalog sadrži 105 dela umetnika Džon Džekson; galerija je čuvala 100 dela koja svet najviše admira, od kojih je svako prikazano sa svojim datumom, muzejom i pričom.
The man emerges from a void of deep shadow, his presence defined by a sudden, sharp strike of light. This chiaroscuro effect carves the contours of his face, pulling the ridge of his nose and the texture of his skin from the darkness. He sits in a quiet, bust-length pose, turned slightly away as if caught in a moment of sudden, heavy thought. His gaze meets the viewer directly, steady…
This formal and somber oil portrait, executed in 1827, presents a three-quarter length depiction of an elderly man. The subject is positioned slightly off-center, facing towards the viewer's left while looking forward. The composition is set against a background of dark, indistinct drapery that lends a sense of weight and gravity to the scene.
This oil portrait, executed in 1810, presents a single male figure in a three-quarter view. The subject is an elderly gentleman positioned against a dark, atmospheric background that lacks specific architectural or landscape detail. The lighting is directional, originating from the upper left, which casts shadows across the right side of the subject's face and creates a sense of three-dimensional volume. This light emphasizes the white of his hair and…
The oil painting titled Portrait of a Man was executed by the artist John Jackson. This work dates to 1830. It captures a single figure in a quiet, three-quarter view, emerging from a dark, indeterminate space. The subject's presence is defined by the sharp contrast between the pale skin of the face and the deep shadows of the background.
In this 1815 oil portrait, we encounter James Abercrombie, 1st Baron Dunfermline, captured in a moment of quiet, scholarly contemplation. The subject is presented in a bust-length composition, his gaze directed slightly away from the viewer toward the right, suggesting a mind occupied by matters of state or law rather than the immediate presence of the observer. There is a profound sense of stillness here. The lighting is handled with…
The light catches a high white collar, a sharp line of brightness against the deep, somber tones of a dark military coat. Frederick, Duke of York, sits in a space defined by gravity. His gaze is directed toward the right, away from the viewer, fixed on something beyond the frame. The skin of his face is rendered with warm, fleshy tones that emerge from a background of nebulous, atmospheric sky.…
This bust-length oil portrait, executed in 1830, depicts a young man positioned slightly off-center against a dark, flat background. The subject is turned toward the right of the frame, his gaze directed away from the viewer. He wears a dark, heavy wool jacket and a crisp white shirt, accented by a silk cravat. The lighting is directional, casting one side of the face into light while leaving the other in…
This oil on canvas portrait presents Sir David Wilkie, RA, as the subject. Created by the artist John Jackson, the work captures the likeness of the Scottish painter during a significant period of his career. The portrait was executed about 1810, a time when Jackson and Wilkie were navigating the competitive London art scene as close companions and fellow students.
This oil on canvas presents a self-portrait of the artist, John Jackson. Executed about 1823, the work functions as an introspective study of the painter himself. It is held within the National Portrait Gallery collection and is identified by the accession number NPG 443.
W. Naylor
12
Mary Taft
13
Samuel Sebastian Wesley
14
Flaxman
15
Fitzgibbon, 2nd Earl Of Clare, Kp, Gch, PcHardwick Hall
16
Henry Bone
17
George Hay Dawkins-pennant
18
Self Portrait -
19
David Williams, Minister And Man Of Letters
20
Constantine Henry Phipps, 1st Marquess Of NormanbyHardwick Hall
21
Flaxman -
22
Benjamin Edmonstone
23
Reginald Macdonald
24
Thomas Stothard
25
Wesley
26
Portrait Of A Lady (mrs Parry, The Mother Of Sir W. E. Parry, Rn)
27
Vice-admiral Sir Richard Goodwin KeatsNational Maritime Museum
28
Portrait Of The Artist's Daughter
29
Reverend George Morley
30
Admiral Lord Amelius BeauclerkNational Maritime Museum
31
Reverend Richard Watson
32
Reverend Joseph Taylor
33
Field Marshal Hrh Frederick
34
James Carrick Moore
35
Sir Henry Webb
36
William SeguierNational Gallery
37
Thomas Sydenham
38
Self Portrait -
39
William Hyde Wollaston
40
Portrait Of A Lady
41
George Iii
42
Self Portrait -
43
Reverend John Fletcher
44
Reverend John Wesley
45
Miss Chester
46
Mr John Deffett
47
Grace Murray
48
Mr Hopper
49
Thomas Stothard, RaFitzwilliam Museum
50
Charles James Stewart
51
Sir Joshua Reynolds
52
James Wood, Master, Mathematician, Dean Of Ely
53
A Jewish Rabbi
54
Sir William BeecheyBavarske državne slikopisne kolekcije
55
Mary Somerville
56
Lady Caroline Edgcumbe
57
Portrait Of George Nugent-temple-grenville
58
Robert Tindal Of Coval Hall
59
Lady Caroline Edgcumbe -
60
Latham
61
Robert Grosvenor
62
Yelloly
63
Bartholomew Johnson
64
Latham, Md, Frs, President Of The Royal College Of Physicians
65
The Right Honourable William Windham IiiFelbrigg Hall
66
George Dance
67
Henry John, Viscount Ingestre
68
Corbet Hue, The Very Reverend Dean Of Jersey
69
The Right Honourable William Saunders Sebright LascellesHardwick Hall
70
The Late Lord Mulgrave
71
Sir Hew Whiteford Dalrymple
72
Richard Clement Headington
73
St Peter
74
Reverend David Mcnicoll
75
Henry Cowper, Clerk Assistant In The Parliament Office
76
An Unfinished Portrait Of Mrs Soane, Painted From A Pencil Sketch By J. Flaxman, Ra And A Miniature
77
Wesley -
78
Samuel ProutNational Portrait Gallery
79
Samuel Wesley -
80
Study For 'bartholomew Johnson'
81
Self Portrait
82
James Abercromby, 1st Baron Dunfermline, Speaker
83
Charles Grey
84
Sir John SoaneNational Portrait Gallery
85
William ('gentleman') SmithNational Portrait Gallery
86
Richard James Lane
87
The Right Honourable Lawrence, Lord Dundas, As Lord Mayor Of York
88
Caroline Frankland, When A Child
89
Sir John Barrow, 1st Bt
90
Samuel WesleyNational Portrait Gallery
91
Portrait sketch of Richard James Lane , lithographer
92
Reverend Robert Newton
93
Portrait Of A Woman In A Black Dress With A Gold Necklace
94
Frederick, Duke Of York And Albany
95
William Charles Macready -
96
Arthur Wellesley, 1st Duke Of WellingtonNational Portrait Gallery
97
Catherine Capel-coningsby, Nee Stephens, Countess Of EssexNational Portrait Gallery
98
Portrait Of A Young Man
99
William Seguier -
100
William Murray, 1st Earl Of Mansfield
Četiri teme koje se najčešće ponavljaju u ovim originalima, svaka sa svojim vrhunskim primerom.
8 muzeja u kojima se nalazi najviše slika sa ove stranice.
| Muzej | Grad | Radovi umetnika Džon Džekson | Slike iz ovog spiska |
|---|---|---|---|
 National Portrait Gallery |
London | 8 | John Jackson, Samuel Prout, Sir John Soane |
 Hardwick Hall |
5 | James Abercrombie, 1st Baron Dunfermline (1776–1858), Henry William Greville (1801-1872), Fitzgibbon, 2nd Earl Of Clare, Kp, Gch, Pc | |
 National Gallery |
London | 2 | Reverend William Holwell Carr, William Seguier |
 National Maritime Museum |
London | 2 | Vice-admiral Sir Richard Goodwin Keats, Admiral Lord Amelius Beauclerk |
 Yale Center for British Art |
New Haven | 2 | Sir David Wilkie |
 Harvard Art Museums |
Kembriđ | 1 | Portrait of a Man |
 Art Institute of Chicago |
Čikago | 1 | Portrait of a Gentleman |
 Smithsonian American Art Museum |
Vašington, D.C. | 1 | Portrait of a Man |
Izaberite deceniju da biste videli original koji je definiše.
The oil painting titled Portrait of a Man was executed by the artist John Jackson. This work dates to 1830. It captures a single figure in a quiet, three-quarter view, emerging from a dark, indeterminate space. The subject's presence is defined by the sharp contrast between the pale skin of the face and the deep shadows of the background.
This oil portrait, executed in 1810, presents a single male figure in a three-quarter view. The subject is an elderly gentleman positioned against a dark, atmospheric background that lacks specific architectural or landscape detail. The lighting is directional, originating from the upper left, which casts shadows across the right side of the subject's face and creates a sense of three-dimensional volume. This light emphasizes the white of his hair and…
The man emerges from a void of deep shadow, his presence defined by a sudden, sharp strike of light. This chiaroscuro effect carves the contours of his face, pulling the ridge of his nose and the texture of his skin from the darkness. He sits in a quiet, bust-length pose, turned slightly away as if caught in a moment of sudden, heavy thought. His gaze meets the viewer directly, steady…
This bust-length oil portrait, executed in 1830, depicts a young man positioned slightly off-center against a dark, flat background. The subject is turned toward the right of the frame, his gaze directed away from the viewer. He wears a dark, heavy wool jacket and a crisp white shirt, accented by a silk cravat. The lighting is directional, casting one side of the face into light while leaving the other in…
Portrait of a Man (1822), Harvard Art Museums, Kembriđ. Slede Reverend William Holwell Carr (1827) i Portrait of a Gentleman (1810).
44 godina: Portrait of a Man datira iz 1822, a Džon Džekson je rođen/a 1778.
Portrait of a Man, Reverend William Holwell Carr, Portrait of a Gentleman, Portrait of a Man, James Abercrombie, 1st Baron Dunfermline (1776–1858), Frederick, Duke of York (1763-1827), Henry William Greville (1801-1872), Sir David Wilkie, John Jackson i Untitled (920). Gornji rang pokazuje godinu i muzej za svako od njih.
Naš katalog sadrži 105 dela umetnika Džon Džekson, datiranih od 1804 do 1830.
Većinom u National Portrait Gallery (London), Hardwick Hall i National Gallery (London). Tabela muzeja iznad sadrži njih sve.
U 1820s: 4 od 100 dela na ovoj stranici nastalo je tada, od čega je Portrait of a Man.
Na ovoj stranici, najstarije delo je iz Portrait of a Man (1804), a najnovije iz Henry William Greville (1801-1872) (1830).
Portrait (21), Men (11) i Portraits (10), kroz svih 100 dela na ovoj stranici.
Oil On Canvas, za 6 od 100 dela na ovoj stranici.
Neoclassicism, sudeći po originalima na ovoj stranici.
John Jackson, Samuel Prout i Sir John Soane: National Portrait Gallery, London čuva 7 dela sa ove stranice.
Džon Džekson, rođen u šarmantnom jojrškom selu Lastingam 31. maja 1778. godine, krenuo je putem koji je bio daleko udaljen od njegove prvobitne sudbine. Njegov otac, praktični krojač, zamišljao je sličan zanat za svog sina, pa je mladi Džon na taj način i upućen na šegrtovanje. Ipak, čak i usred tkanina i šavova, u njemu je cvetao neosporan umetnički nagon. Tajno je skicirao portrete prijatelja i poznanika, što je predstavljalo tihi bunt protiv porodičnih očekivanja. Ovi rani pokušaji, iako sirovi, otkrili su prirodni talenat i bujnu strast koja se nije mogla potisnuti.
Džeksonova sreća počela je da se menja putovanjem u Vitbi 1797. godine, gde je nesigurno ponudio svoje usluge kao minijaturista. Upravo je u tom periodu došlo do presudnog susreta – upoznavanja sa grofom od Karlila, verovatno preko lorda Mulgrejeva. Ova veza se pokazala transformativnom, otvarajući vrata dvorca Kastro Howard i njegove veličanstvene umetničke kolekcije. Istovremeno, ser Džordž Bomon, 7. baronet, pružio mu je pokroviteljstvo, nudeći Džeksonu ne samo finansijsku podršku – skromnih 50 funti godišnje – već i mesto za stolom i pristup neprocenjivim umetničkim resursima. Ovi rani dobrotivci prepoznali su iskru genijalnosti i pružili ključni temelj za Džeksonovu formalnu obuku.
Godine 1804, naoružan ohrabrenjem i finansijskom stabilnošću, Džekson je stigao u London i upisao se kao student u Kraljevsku akademiju. Ovo je označilo prekretnicu u njegovom umetničkom razvoju. Brzo se sprijateljio sa dva kolege studenata koji će mu postati doživotni saputnici: Dejvidom Vilkijem i Bendžaminom Robertom Hejdonom. Prijateljstvo između ova tri umetnika bilo je duboko; delili su kritike, podržavali su međusobne poduhvate i zajedno se kretali kroz konkurentnu londonsku umetničku scenu. Džeksonova velikodušnost posebno se ističe po tome što je upoznao i Vilkija i Hejdonu sa lordom Mulgrejvom, što je značajno unapredilo njihove karijere.
Uticaj sera Džordža Bomona bio je posebno značajan tokom ovih formativnih godina. Bomon je podsticao Džeksona da proučava stare majstore, negujući poštovanje prema klasičnim tehnikama i principima kompozicije. Kolekcije u Kastlo Howardu omogućile su mu direktan uvid u dela renomiranih umetnika, oblikujući Džeksonovu estetsku senzibilitetnost. Iako je u početku radio olovkom uz delikatne akvarelne slojeve, postepeno je prešao na ulje, što je bio proces koji je bio izazovan, ali na kraju i nagrađujući. Njegovi rani portreti odražavali su glatki, rafinirani stil koji su favorizirali umetnici poput Lorensa, ali je Džekson ubrzo počeo da razvija sopstveni prepoznatljiv stil.
Do 1807. godine, Džon Džekson se utvrdio kao portretista izuzetnih vrednosti. Dobijao je porudžbine od istaknutih ličnosti, steadily gradeći reputaciju po detaljnim sličnostima i veštom izvođenju. Međutim, on nije bio samo ponavljač spoljašnjosti; Džekson je posedovao urođenu sposobnost da uhvati suštinu svojih modela – njihov karakter, intelekt i unutrašnji život. Njegovi portreti nisu bili samo vizuelne reprezentacije, već psihološke studije prožete osetljivošću i nijansama.
Džeksonova tehnika bila je karakterisana odvažnim efektima boje i kjaroskuro (chiaroscuro) efektom, što je bilo namerno odstupanje od tadašnje prevladale glatke završnice koju su favorizali mnogi savremenici. Majstorstvo u manipulaciji svetlom i senkom omogućilo mu je stvaranje dramatičnih kontrasta i naglašavanje forme. Njegovi akvareli su posebno hvaljeni zbog neobičnog kvaliteta, pokazujući izuzetno visok nivo preciznosti i delikatnosti. Dok je nastavio da stvara manje portrete olovkom, njegove uljane slike sve više su prikazivale njegov rastući samopouzdanje i umetničku viziju.
Tokom svoje karijere, Džekson je naslikao brojne portrete uglednih pojedinaca, uključujući sera Džona Soana, čuvenog arhitektu, i reverenda Džona Veslija, osnivača metodizma. Ova dela stoje kao svedočanstva njegove sposobnosti da prikaže kako fizičku sličnost i intelektualnu dubinu. Njegov portret Vilijama Hajda Volastona, hemičara i fizičara, exemplifikuje njegovu veštinu u dočaravanju kontemplativne prirode subjekta.
Pored porudžbenih portreta, Džekson je kreirao i autoportrete koji nude intimne uvide u njegov sopstveni život i umetnost. Jedan značajan primer, naslikan oko 1823. godine, otkriva ozbiljnog i introspektivnog umetnika koji je bio duboko svestan svog zanata. Takođe je stvarao upečatljive studije poput „Flaksmana“, prikazujući bogate teksture ulja i usmereno osvetljenje. Njegovi portreti gospodina Hopera demonstriraju način na koji je kontrastirao svetlost preko lica sa dubokom senkom radi modeliranja i promenljivih tonova pozadine.
Doprinos Džona Džeksona britanskom portretizmu leži u njegovoj sposobnosti da spoji tehničku veštinu sa psihološkim uvidom. Kretala se kroz period stilskih tranzicija, pomerajući se izvan površne elegancije ranijih tradicija ka nijansiranijem i ekspresivnijem pristupu. Iako možda nije dostigao široku slavu umetnika kao što su Lorens ili Rejnold, njegovo delo se ceni zbog njegove integriteta, osetljivosti i trajnog kvaliteta.
Džeksonov uticaj protezao se izvan njegovog neposrednog kruga prijatelja i pokrovitelja. Pomogao je da se postavi put novoj generaciji portretista koji su prioritet davali karakterizaciji iznad puke reprezentacije. Njegova posvećenost dočaravanju unutrašnjih života svojih modela – u kombinaciji sa njegovim majstorstvom u tehnici – učvrstila je njegovo mesto kao ključne figure u umetnosti kasnog doba Džordžijanstva, ostavljajući za sobom nasleđe upečatljivih portreta koji i danas fasciniraju i inspirišu.
