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The Cession Of Matavai je slika autora Robert Smirk koja privlači najviše pogleda. Nakon toga, pogled se seli na The wreck of the 'Grosvenor' (1792) i The Earl of Sandwich Refusing to Abandon His Ship During the Battle of Solebay (1793). Među 77 dela umetnika Robert Smirk u našem katalogu, ovih 77 su najpoznatija, od kojih je svako jedinstveni original predstavljen sa godinom nastanka, muzejom i razlogom zbog kojeg je i danas neprocenjivo.
In The Cession Of Matavai, Robert Smirke presents a complex historical scene centered on the era of European colonization in the Pacific. The work captures a moment of profound cultural encounter, focusing on the tension between two distinct worlds. Smirke, an artist known for his ability to translate narrative depth into visual form, uses this setting to explore themes of power and the shifting dynamics of dominance and vulnerability.
In The wreck of the 'Grosvenor' by Robert Smirke, the chaos of a maritime disaster unfolds before the eyes. This scene captures the harrowing moment an East Indiaman meets its end. The vessel, a three-masted ship of 729 tons, struggles against the fury of the sea. It is a moment frozen in time, reflecting the tragedy that occurred on 4 August 1782. The water churns with a violent energy that…
The oil painting titled The Earl of Sandwich Refusing to Abandon His Ship During the Battle of Solebay was executed by the artist Robert Smirke. This work dates to about 1793. The canvas depicts a specific moment of naval combat, focusing on the central figure of the Earl of Sandwich. The subject matter centers on themes of courage, duty, and leadership during the Battle of Solebay.
The artwork titled Falstaff rebuked was painted by the English painter and illustrator Robert Smirke. This specific work dates to 1795. The piece is an oil on canvas that captures a scene of confrontation between a youthful, regal figure and an older, disheveled man.
The composition centers on a single female figure positioned within a dramatic setting. She is depicted in the role of Lady Macbeth, captured in a moment of intense psychological tension. The subject's posture and facial expression convey a sense of internal turmoil. Her gaze is directed away from the viewer, focused on an unseen point of distress. The lighting emphasizes the contours of her face and the heavy folds of…
The Awakening of King Lear by Robert Smirke centers on a dramatic moment of human interaction. An elderly man with a white beard sits in a large chair, serving as the focal point of the composition. Kneeling before him is a woman in white and light blue drapery, her posture suggesting a gesture of supplication or comfort. This central pairing is framed by two other men who observe the scene…
To gaze upon this depiction of the Port of Zakynthos is to be instantly transported across the azure expanse of the Aegean Sea, far from the clamor of modern life. This work captures not merely a harbor scene, but a moment suspended in time—a vibrant tableau vivant rendered with the delicate precision characteristic of early nineteenth-century topographical studies. The composition itself sings of industry and repose; boats, some moored peacefully…
A Scene From 'the Busybody' From By Mrs Centlivre is a painting by the artist Robert Smirke. This work depicts a specific moment taken from the play written by Mrs Centlivre. The composition captures a dramatic instance from the theatrical text, focusing on the interactions between the characters within a domestic setting.
Diana and ActaeonYale Center for British Art
12
Juliet Nurse
13
Lady Jane Grey
14
The Slaughter Of The Suitors Of Penelope
15
Title Not Known - (10)
16
The SoldierYale Center for British Art
17
Title Not Known -
18
The Afflicted Matron, The Countess Trifaldi, From 'don Quixote'
19
'henry Iv', Part I, Act Ii, Scene 1, The Inn Yard With Gadshill And The Carriers
20
King Lear
21
Mary Isabella Somerset
22
The Treachery Of Colonel Kirke
23
Ulysses And Nausicä
24
Children Playing
25
Cromwell suppressing the mutiny in the army
26
Ulysses Discovered By His Nurse
27
Sancho Panza And The Duchess
28
His Majesty Reviewing The Volunteer Corps Assembled In Hyde Park, In Honour Of His Birthday
29
The Deserter Apprehended
30
The Merry Wives Of Windsor
31
The Martyrdom of Archbishop Cranmer
32
The SchoolboyYale Center for British Art
33
Kneeling female figure with a cup
34
Title Not Known -
35
Title Not Known -
36
The LoverYale Center for British Art
37
Title Not Known
38
Title Not Known -
39
The Order Of Knighthood Conferred On Don Quixote By The Inn Keeper
40
Title Not Known - (9)
41
Title Not Known -
42
Casimire And Lady Pentweazel, From Samuel Foote's Taste
43
Title Not Known -
44
The Astronomers' ClubNational Maritime Museum
45
Don Quixote And Sancho Panza
46
The JusticeYale Center for British Art
47
The InfantYale Center for British Art
48
The Rivals
49
Scene From Samuel Richardson's Pamela
50
Mrs Henry Siddons
51
Melinda And Lucy Consult Kite
52
He Seven Ages Of Man The PantaloonYale Center for British Art
53
Title Not Known - (11)
54
Much Ado About Nothing
55
Lady Pentweazle From Samuel Foote's 'taste'Upton House
56
The Rivals from `Tom Jones
57
Title Not Known - (8)
58
The Two Sons Of Tipu Sahib, Sultan Of MysoreYale Center for British Art
59
Measure For Measure
60
Scene From Bickerstaffe's Play 'the Hypocrite'
61
Falstaff Disguised As Herne With Mrs Ford And Mrs Page
62
The Scandal
63
The Duel
64
Second ChildishnessYale Center for British Art
65
Young Man Lifted From A River, Apparently Drowned
66
The Merry Wives Of Windsor -
67
Scipio And The Hermit
68
Don Quixote At Home, After The Termination Of His Second Sally
69
'henry Iv', Part I, Act V, Scene 4, Falstaff And The Dead Body Of Hotspur
70
The Sleeper Awakened
71
Illustration From Francis Beaumont And John Fletcher's 'the Humorous Lieutenant'
72
Title Not Known -
73
Resuscitation By Doctor Hawes Of A Man Believed Drowned
74
A Scene From 'taste' A Play By Samuel Foote
75
Illustration To Le Strange's 'gil Blas'
76
'love For Love' By William Congreve
77
The Rival Waiting-womenHatchlands Park
Četiri teme koje se najčešće ponavljaju u ovim originalima, svaka sa svojim vrhunskim primerom.
4 muzeja u kojima se nalazi najviše slika sa ove stranice.
| Muzej | Grad | Radovi umetnika Robert Smirk | Slike iz ovog spiska |
|---|---|---|---|
 Yale Center for British Art |
New Haven | 13 | The Earl of Sandwich Refusing to Abandon His Ship During the Battle of Solebay, Port of Zakynthos, Greece, Woman Sleeping in the Nude in a Wooded Landscape |
 Upton House |
Banbury | 2 | A Scene From 'the Busybody' From By Mrs Centlivre, Lady Pentweazle From Samuel Foote's 'taste' |
 National Maritime Museum |
London | 1 | The Astronomers' Club |
 Hatchlands Park |
Guildford | 1 | The Rival Waiting-women |
15 godina razmaka između prvog i poslednjeg datiranog originala umetnika Robert Smirk prikazanog ovde, 1790 i 1804: svaka godina ima svoje mesto u nastavku.
Izaberite godinu da biste videli originalna dela.
The composition centers on a single female figure positioned within a dramatic setting. She is depicted in the role of Lady Macbeth, captured in a moment of intense psychological tension. The subject's posture and facial expression convey a sense of internal turmoil. Her gaze is directed away from the viewer, focused on an unseen point of distress. The lighting emphasizes the contours of her face and the heavy folds of…
In The wreck of the 'Grosvenor' by Robert Smirke, the chaos of a maritime disaster unfolds before the eyes. This scene captures the harrowing moment an East Indiaman meets its end. The vessel, a three-masted ship of 729 tons, struggles against the fury of the sea. It is a moment frozen in time, reflecting the tragedy that occurred on 4 August 1782. The water churns with a violent energy that…
Još od 1792
The oil painting titled The Earl of Sandwich Refusing to Abandon His Ship During the Battle of Solebay was executed by the artist Robert Smirke. This work dates to about 1793. The canvas depicts a specific moment of naval combat, focusing on the central figure of the Earl of Sandwich. The subject matter centers on themes of courage, duty, and leadership during the Battle of Solebay.
The artwork titled Falstaff rebuked was painted by the English painter and illustrator Robert Smirke. This specific work dates to 1795. The piece is an oil on canvas that captures a scene of confrontation between a youthful, regal figure and an older, disheveled man.
To gaze upon this depiction of the Port of Zakynthos is to be instantly transported across the azure expanse of the Aegean Sea, far from the clamor of modern life. This work captures not merely a harbor scene, but a moment suspended in time—a vibrant tableau vivant rendered with the delicate precision characteristic of early nineteenth-century topographical studies. The composition itself sings of industry and repose; boats, some moored peacefully…
The Cession Of Matavai. Slede The wreck of the 'Grosvenor' (1792) i The Earl of Sandwich Refusing to Abandon His Ship During the Battle of Solebay (1793).
The Cession Of Matavai, The wreck of the 'Grosvenor', The Earl of Sandwich Refusing to Abandon His Ship During the Battle of Solebay, Falstaff rebuked, Sarah Siddons as Lady Macbeth, The Awakening of King Lear, Port of Zakynthos, Greece, A Scene From 'the Busybody' From By Mrs Centlivre, Woman Sleeping in the Nude in a Wooded Landscape i Figure Study of a Nude Woman in a Wooded Landscape. Gornji rang pokazuje godinu i muzej za svako od njih.
Naš katalog sadrži 77 dela umetnika Robert Smirk, datiranih od 1790 do 1804.
Većinom u Yale Center for British Art (New Haven), Upton House (Banbury) i National Maritime Museum (London). Tabela muzeja iznad sadrži njih sve.
U 1792: 2 od 77 dela na ovoj stranici nastalo je tada, od čega je The wreck of the 'Grosvenor'.
Na ovoj stranici, najstarije delo je iz Sarah Siddons as Lady Macbeth (1790), a najnovije iz Port of Zakynthos, Greece (1804).
Women (7), Scenes (4) i Historical scene (3), kroz svih 77 dela na ovoj stranici.
Oil, za 4 od 77 dela na ovoj stranici.
Romanticism i Neoclassicism, sudeći po originalima na ovoj stranici.
The Earl of Sandwich Refusing to Abandon His Ship During the Battle of Solebay, Port of Zakynthos, Greece i Woman Sleeping in the Nude in a Wooded Landscape: Yale Center for British Art, New Haven čuva 13 dela sa ove stranice.
U raskošnom tapiseriji britanske istorije umetnosti, gde su mnogi težili slavi kroz veličanstvene scene bitaka ili monumentalne portrete, Robert Smirke je izdubio svoju nežnu i duboko intimnu nišu. Rođen 1753. godine u mirnom gradiću Vidgnu, blizu Karlajla, Smirke je bio čovek čiju je četkicu više vodio ritam stihova nego drama istorije. Kao sin putujućeg umetnika, njegovo detinjstvo bilo je prožeto samom suštinom posmatranica, učeći da vidi svet kroz prizmu pokreta i svetlosti mnogo pre nego što je započeo formalno umevanje. Ovo rano izlaganje nomadnom životu u njemu je usadilo doživotno poštovanje prema suptilnim detaljima prirodnog sveta, osobinu koja će kasnije definisati njegov jedinstveni pristup književnom pejzažu.
Smirkeov umetnički put bio je put postojane i pedantne profinjenosti. Nakon što je usavršio svoje tehničke veštine kod jednog londonskog heraldičkog slikara, počeo je da se pojavljuje u profesionalnim krugovima kroz Ujedinjeno društvo umetnika 1775. godine. Iako su njegove rane izložbe bile skromne, one su otkrile bujanje talenta za hvatanje tihe elegancije scene. On nije samo slikao pejzaže; on je slikao priče. Njegovo pravo majstorstvo ležalo je u sposobnosti da pretoči pisanu reč u vizuelnu poeziju, fokusirajući se posebno na dela engleskih pesnika kao što je Džejms Tomson. Birajući monohromatske palete i zamršene kompozicije, Smirke je stvorio osećaj vanvremenosti, omogućavajući posmatraču da zakorači direktno u stihove klasične književnosti.
Uspon Roberta Smirkea unutar prestižnih hodnika Kraljevske akademije služi kao svedočanstvo njegove tehničke izdržljivosti i sposobnosti da očara najizboračnije kritičare tog doba. Njegov izbor za podudovnika akademije 1791. godine, praćen statusom punopravnog akademičara 1793. godine, označio je njegov prelazak iz obećavajućeg ilustratora u kamen temelj britanske umetničke ustanove. Upravo je tokom ovog perioda njegova najslavnije dela počela da odjekuju u javnoj mašti. Dela kao što su Narcis i dama i Sabrina—teme izvučena iz Miltonovog Komusa—demonstrovala su duboku senzibilitnost prema atmosferskim kvalitetima mita i legende.
Smirkeovo delo karakterišu nekoliko ključnih elemenata koji ga izdvajaju od njegovih savremenika:
Čak je i njegov diplomski rad, Don Kihot i Sančo, odražavao njegovu posvećenost likovima i narativnoj dubini. Iako možda nije tražio slavu onih koji su slikali epske razmere carstva, Smirkeov istorijski značaj leži u njegovoj ulozi vizuelnog čuvara engleskog književnog nasleđa. On je transformisao platno u stranicu knjige, osiguravajući da romantizam pesnika 18. veka opstane kroz trajnu moć njegove slike. Njegov život, koji se proteže od kraja 18. veka do 1845. godine, ostaje prelepo poglavlje u priči o britanskoj umetnosti—priča koja se ne pripoveda glasnim proklamacijama, već mekim, evocirajućim šapatima vrhunskog pripovedača.
