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Od svih originala koje je Džordž De Forest Braš ostavio, najpoznatiji je Miss Tribbie, (painting) (1906). Odmah za njima slede Mrs. Frank Bulkeley Smith (Nancy Earle) and Children, (painting) (1898) i Jane Addams (1906). Naš katalog sadrži 66 dela umetnika Džordž De Forest Braš; galerija je čuvala 65 dela koja svet najviše admira, od kojih je svako prikazano sa svojim datumom, muzejom i pričom.
In this 1906 portrait, we find ourselves in the presence of Miss Tribbie, a figure rendered with a profound sense of stillness. The composition is a close-up bust portrait, focusing our attention entirely on the subject's face and upper torso. There is a certain weight to her presence, a dignity that emerges from her contemplative expression. She does not look at us, but rather seems lost in a moment of…
In Mrs. Frank Bulkeley Smith (Nancy Earle) and Children, (painting), George De Forest Brush organizes his subjects through a deliberate pyramidal structure. The mother figure occupies the apex of this arrangement, providing a sense of stability and protection as she holds two of her children close to her. A third child kneels in the foreground, creating a sense of spatial depth that leads the eye through the family group. This…
In this 1906 oil portrait, we encounter Jane Addams not through the lens of her public activism, but through a moment of profound, private stillness. Presented in profile, her figure emerges from a dark, atmospheric background that pushes her presence toward the viewer. The composition is a classic bust-length study, focusing on the delicate architecture of her head and shoulders. There is a certain weight to her posture, a sense…
A woman sits upon the earth, her presence anchored to the rocky ground beneath her. She rests her head upon her hand, a gesture of profound stillness that seems to halt the very passage of time. Her white dress catches the light, creating a soft contrast against the rugged, stony landscape that surrounds her. Around her, the air feels alive with movement, as birds scatter through the scene, some perched…
The oil painting titled Indian Burial, (painting) is a work by George De Forest Brush. It is rendered in oil paint on canvas. The scene captures a somber moment of ritual and mourning. Figures move through a landscape of stone and shadow.
Step closer and observe the way the light settles upon these figures. In this 1906 oil on canvas, we find ourselves drawn into an intimate, vertical composition that feels almost like a shared secret. A motherly figure holds a young child with a tenderness that requires no explanation, while another small child stands quietly at her side. They are nestled within a soft, naturalistic garden where the edges of the…
A Native American man rides a horse at full gallop across a snowy landscape, captured in a monochromatic palette of white, gray, and black. The composition follows a sharp diagonal from the lower left to the upper right, creating a sense of immediate forward momentum. In the background, a second, smaller figure rides away, adding depth to the narrative of pursuit or flight. Bare trees on the left provide vertical…
In Mourning Her Brave, (painting) by George De Forest Brush, a single figure anchors the center of a desolate world. The woman stands against a rugged, mountainous landscape, her form the primary focus of the composition. She tilts her head upward, her face fixed in an expression of profound grief or quiet contemplation. A large, dark bundle is draped heavily over her shoulder, a physical manifestation of the weight of…
The face of the young girl emerges from a soft, muted landscape. Her features are rendered with a quiet precision, capturing a moment of stillness amidst the shadows. The light falls gently across her skin, tracing the delicate contours of her cheek and the bridge of her nose. She gazes outward with an expression that carries a weight of introspection, a subtle melancholy that lingers in the depth of her…
In the intimate space of Portrait of Mrs. Brush, George De Forest Brush presents a close-up bust portrait that pulls the observer into a quiet, private moment. The subject, a single female figure, sits positioned slightly off-center, her presence commanding the frame through a direct and steady gaze toward the viewer. Her short, dark hair frames a face held in a serious, contemplative expression, as if she is caught mid-thought…
Henry George1888 · National Portrait Gallery
12
Orpheus1890 · Muzej finih umetnosti u Bostonu
13
Orpheus, (painting)1890
14
Portrait of Mrs. Brush, (painting)1888
15
Indian Hunting Cranes in Florida, (painting)1887
16
Henry George, (painting)1888 · Bavarske državne slikopisne kolekcije
17
Portrait of Mrs. John J. Albright and Children1902 · Buffalo AKG Art Museum
18
The Thomas Sisters (Margaret Thomas Gardiner and Helen Thomas Warren)1901 · Muzej finih umetnosti u Bostonu
19
Alan Harriman1905 · Metropoliten музеј у Њујорку
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Miss Tribbie - Portrait of the Artist's Daughter1906 · Smith College Museum of Art
21
In the Garden, (painting)1906
22![Nancy, the Artist's Daughter [Mrs. Robert Pearmain] (1915) čiji je Džordž De Forest Braš](/media/artworks/images-thumb/00/1c/001ca4adada5eebf147a6f8d59e03c5f.jpg)
Nancy, the Artist's Daughter [Mrs. Robert Pearmain]1915 · New Britain Museum of American Art
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Mother and Child: A Modern Madonna1919 · Brooklyn Museum
24
Portrait of a Young Girl, (painting)1920
25
An Arapahoe Boy1882 · National Gallery of Art
26
Leda and the Swan, (painting)1883
27
Laying Away a Brave (also known as The Chieftain Passes The Burial)1885 · American Museum of Western Art
28
A Celtic Huntress1890 · Fine Arts Museums of San Francisco
29
An Aztec Sculptor1887 · National Gallery of Art
30
The Silence Broken, (painting)1886
31
The Indian Hunter, (painting)1890
32
The Moose Chase, (painting)1888
33
Indian and the Lily, (painting)1887
34
Mother and Child1892 · Addison Gallery of American Art
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The Indian and the Lily1887 · Crystal Bridges Museum of American Art
36
Polly Cabot, (painting)1896
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Mother and Child, (painting)1894
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Mother and Child1894 · Metropoliten музеј у Њујорку
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Mother and Child (Mrs. Brush and Tribbie), (painting)1895
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Little Cavalier, (painting)1904
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Nancy, (painting)1905
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The Little Cavalier1904 · Cleveland Museum of Art
43
Henry George1903 · Metropoliten музеј у Њујорку
44
Portrait of a Lady, (painting)
45
Mrs. Guy M. Currier, (painting)
46
Seated Indian, (painting)
47
At Dawn, (painting)
48
Mother and Children, (painting)
49
Head of a Boy, (painting)
50
Head of a Baby, (painting)
51
Portrait of a Woman, (painting)
52
Indian Portrait, (painting)
53
At the Fountain, (painting)
54
In the Garden1906
55
A Family Group1907
56
Unknown Lady, (painting)1914
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Polly, (painting)1916
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Mrs Fiske Warren, née Osgood1913 · Колегіум Святенни в Оксфорді
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Polly1916 · Smithsonian American Art Museum
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Nancy1905 · Smithsonian American Art Museum
61
Still Life of Flowers, (painting)
62
Long Ago, (painting)
63
Family Group, (painting)
64
The Moose Chase1888 · Smithsonian American Art Museum
65
Untitled (AQTEKW)
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 Džordž De Forest Braš | Slike iz ovog spiska |
|---|---|---|---|
 Metropoliten музеј у Њујорку |
Њујорк | 4 | In the Garden, Alan Harriman, Mother and Child |
 Smithsonian American Art Museum |
Vašington, D.C. | 3 | Polly, Nancy, The Moose Chase |
 National Portrait Gallery |
Vašington, D.C. | 2 | Jane Addams, Henry George |
 Muzej finih umetnosti u Bostonu |
Boston | 2 | Orpheus, The Thomas Sisters (Margaret Thomas Gardiner and Helen Thomas Warren) |
 National Gallery of Art |
Washington | 2 | An Arapahoe Boy, An Aztec Sculptor |
 Freer Gallery of Art |
Vašington, D.C. | 1 | Portrait of Mrs. Brush |
 Bavarske državne slikopisne kolekcije |
Minhen | 1 | Henry George, (painting) |
 Buffalo AKG Art Museum |
Buffalo | 1 | Portrait of Mrs. John J. Albright and Children |
Izaberite deceniju da biste videli original koji je definiše.
A woman sits upon the earth, her presence anchored to the rocky ground beneath her. She rests her head upon her hand, a gesture of profound stillness that seems to halt the very passage of time. Her white dress catches the light, creating a soft contrast against the rugged, stony landscape that surrounds her. Around her, the air feels alive with movement, as birds scatter through the scene, some perched…
In Mrs. Frank Bulkeley Smith (Nancy Earle) and Children, (painting), George De Forest Brush organizes his subjects through a deliberate pyramidal structure. The mother figure occupies the apex of this arrangement, providing a sense of stability and protection as she holds two of her children close to her. A third child kneels in the foreground, creating a sense of spatial depth that leads the eye through the family group. This…
In this 1906 portrait, we find ourselves in the presence of Miss Tribbie, a figure rendered with a profound sense of stillness. The composition is a close-up bust portrait, focusing our attention entirely on the subject's face and upper torso. There is a certain weight to her presence, a dignity that emerges from her contemplative expression. She does not look at us, but rather seems lost in a moment of…
![Nancy, the Artist's Daughter [Mrs. Robert Pearmain] (1915) čiji je Džordž De Forest Braš](/media/artworks/images-full/4d/05/4d05a546dfce07c54897d832e77ac7ad.jpg)
The gaze of the viewer meets a young woman in Nancy, the Artist's Daughter [Mrs. Robert Pearmain]. This portrait, painted by George De Forest Brush, captures a moment of quiet poise. The subject remains still, her presence filling the space with a sense of calm dignity. She exists here as a central figure, a person caught in a moment of serene reflection.
A young girl occupies the center of this 1885 oil on canvas, her presence defined by a somber, introspective gaze. The composition is tight, focusing on the sitter's face and the delicate textures of her attire. Behind her, a landscape of rolling hills and distant trees recedes into a soft background, providing a sense of depth that anchors the figure within a natural setting. The work captures a moment of…
Miss Tribbie, (painting) (1906). Slede Mrs. Frank Bulkeley Smith (Nancy Earle) and Children, (painting) (1898) i Jane Addams (1906).
51 godina: Miss Tribbie, (painting) datira iz 1906, a Džordž De Forest Braš je rođen/a 1855.
Miss Tribbie, (painting), Mrs. Frank Bulkeley Smith (Nancy Earle) and Children, (painting), Jane Addams, Miggles, Indian Burial, (painting), In the Garden, The Escape, (painting), Mourning Her Brave, (painting), Young Girl, (painting) i Portrait of Mrs. Brush. Gornji rang pokazuje godinu i muzej za svako od njih.
Naš katalog sadrži 66 dela umetnika Džordž De Forest Braš, datiranih od 1880 do 1920.
Većinom u Metropoliten музеј у Њујорку (Њујорк), Smithsonian American Art Museum (Vašington, D.C.) i National Portrait Gallery (Vašington, D.C.). Tabela muzeja iznad sadrži njih sve.
U 1880s: 18 od 65 dela na ovoj stranici nastalo je tada, od čega je Miggles.
Na ovoj stranici, najstarije delo je iz Miggles (1880), a najnovije iz Portrait of a Young Girl, (painting) (1920).
Woman (14), Portrait (8) i Landscape (6), kroz svih 65 dela na ovoj stranici.
Oil On Canvas, za 19 od 65 dela na ovoj stranici.
Academic realism, sudeći po originalima na ovoj stranici.
In the Garden, Alan Harriman i Mother and Child: Metropoliten музеј у Њујорку, Њујорк čuva 4 dela sa ove stranice.
Džordž De Forest Braš (1855–1941) bio je umetnik koji je posedovao retku sposobnost da premosti dva naizgled potpuno različita sveta: disciplinovanu, klasičnu eleganciju italijanske renesanse i sirovu, duhovnu vitalnost života domorodaca Amerike. Rođen u Šelbivilu u Tenesiju, ali odgajan usred intelektualnih i umetničkih struja Nove Engleske i Konektikuta, Brašov rani život bio je prožet dubokim poštovanjem prema lepoti i tradiciji. Njegova majka, samoukoupna umetnica, negovala je njegov urođeni talenat od najranijeg detinjstva, podstičući doživotnu posvećenost vizuelnim umetnostima. Ova temeljna ljubav prema crtežu i slikarstvu na kraju ga je odvela daleko iznad granica njegovog odgajanja, vodeći ga ka prestižnim studijima Pariza i prostranim, suncem okupanim pejzažima američkog Zapada.
Tokar Brašove karijere nepovratno je promenila formalna obuka kod legendarne Žan-Leon Gerom u Školi lepih umetnosti (École des Beaux-Arts). U svetim halama pariskog akademizma, ovladao je pedantnim tehnikama klasičnog realizma i upio principe renesansne kompozicije. Ovaj period u njemu je usadio poštovanje prema anatomskoj preciznosti i sofisticirano razumevanje svetla i senke. Međutim, Braš nikada nije bio zadovoljan pukim ponavljanjem prošlosti; tražio je način da ove akademske rigoreti prožem savremenim, duhovnim pulsom. Po povratku u Sjedinjene Amerike, njegov pogled okrenuo se ka regionu Vind River u Vajomingu, gde su njegovi susreti sa narodima Šošon i Arapaho pružili najdublju inspiraciju njegovog života.
Brašovo delo karakteriše jedinstvena tenzija između etnografskog posmatranja i romantičarskog idealizma. Za razliku od mnogih svojih savremenika koji su pristupali temama domorodaca kroz čisto dokumentarni prizmu, Braš je nastojao da uhvati ono što je doživljavao kao suštinsku duhovnu esenciju ovih zajednica. Njegova platna često prikazuju idealizovane prikaze koji prevazilaze puku portretistiku, naginjući ka alegoriji. U remek-delima kao što je Indijanac i ljiljan, primećuje se neprimetna integracija klasičnih motiva sa autohtonim subjektima, stvarajući vizuelni jezik u kojem su svetost prirode i dostojanstvo ljudske tradicije neraskidivo povezani.
Kako je njegov stil sazrevao, Brašova tehnika je prošla kroz suptilnu, ali značajnu evoluciju. Dok je zadržao disciplinovanu strukturu naučenu u Parizu, njegova kasnija dela počela su da prihvataju ekspresivnije korišćenje boje i svetlosti, odjekujući rastućim uticajem impresionizma. Odmakao se od krutih, gotovo skulpturalnih figura svog ranog akademskog perioda ka kompozicijama koje su delovale atmosferski i fluidnije. Ova promena mu je omogućila da istražuje sekularizovane Madone — prikazujući majke i decu sa nežnošću koja je odjekivala univerzalnim temama odgoja i božanstva. Njegova sposobnost da prevede duboke rituale i tiho dostojanstvo života domorodaca u format koji je govorio klasičnoj zapadnoj tradiciji ostaje njegovo najtrajnije umetničko dostignuće.
Značaj Džordža De Forest Braša proteže se izvan granica finih umetnosti, dodirujući preseke nauke, patriotizma i socijalne filozofije. Njegova intelektualna radoznalost bila je uparena sa praktičnim domišljajem; naročito, u saradnji sa svojim prijateljem Ebotiom H. Tejerom, Braš je doprineo razvoju ranog vojnog kamuflažnog sistema, primenjujući svoje oštro razumevanje svetla, teksture i šare na potrebe modernog ratovanja. Ovaj period inovacija ističe umetnika čiji je um bio podjednako angažovan u složenosti promenljivog sveta kao i u vanvremensku lepotu njegovih subjekata.
Tokom cele svoje duge i istaknute karijere, Braš je ostao figura od ogromnog kulturnog značaja, stekavši status člana Nacionalne akademije dizajna i ostavivši neizbrisiv trag u istoriji američke umetnosti. Njegovo nasleđe definišu nekoliko ključnih stubova:
Danas, dela Džordža De Forest Braša nastavljaju da očaravaju publiku, služeći kao dirljivi podsetnici na vreme kada je umetnost nastojala da pronađe univerzalnu nit koja povezuje drevne tradicije Starog sveta sa usponotim duhom Novog.
