Ažurirano: октобар 2026 · rangirano prema našem koeficijentu popularnosti (pretrage, posete i porudžbine za svako delo) · 73 dela Vilijam Hamilton u našem katalogu
Ukratko
Od svih originala koje je Vilijam Hamilton ostavio, najpoznatiji je John Palmer Whalley (1775), koji se nalazi u kolekciji Yale Center for British Art, New Haven. Odmah za njima slede Alexander Masterton and His Wife and Children (1834) i Christ and the woman of Samaria (1792). Naš katalog sadrži 73 dela umetnika Vilijam Hamilton; galerija je čuvala 73 dela koja svet najviše admira, od kojih je svako prikazano sa svojim datumom, muzejom i pričom.
In this portrait of John Palmer Whalley, William Hamilton captures a moment of quietude from about 1775. The subject is a young boy, presented in an intimate, waist-up view that feels like a sudden encounter in a private room. He is framed within an oval composition, a shape that focuses the eye entirely on his youthful presence. This work is held within the Yale Center for British Art collection.
The oil on canvas titled Alexander Masterton and His Wife and Children captures a family gathered within a dense, shadowed woodland. Painted by William Hamilton about 1834, the work presents Alexander Masterton alongside his wife and children. The subjects are positioned in a lush landscape where the deep greens of the forest meet the bright, pale fabrics of their attire. It is a quiet assembly of figures caught in a…
In this oil on canvas painting from 1792, two primary figures occupy the foreground of a landscape centered around a stone well. On the left, a seated man is draped in heavy blue and deep red robes. He extends an open hand toward a woman standing on the right. This woman wears a golden-yellow gown with white sleeves and a light headwrap, her hands holding a rope attached to a…
Celadon and Amelia is a painting by William Hamilton, executed in 1793. The work draws its narrative from the Summer section of the English nature poem "The Seasons." It captures a moment of sudden, heavy stillness following a tempest.
Lavinia and her Mother1792 · Cantor Arts Center at Stanford University
12
Isabella appealing to Angelo1793
13
The Duke of York discovering his son Aumerle's treachery1790
14
Prospero and Ariel1797 · Alte Nationalgalerie
15
Calypso receiving Telemachus and Mentor in the Grotto1800
16
A Scene from Twelfth Night1797
17
Olivia's proposal1796
18
Fishing Boats Returning from the Sea1800 · Lönnström Art Museum
19
The Marriage of George, Prince of Wales, and Princess Caroline of Brunswick1796 · Royal Collection
20
Portrait of an Actress as OmphaleMuzej finih umetnosti u Bostonu
21
Brabantio’s Accusation against Othello, Othello, act 1, scene 3.
22
2nd Duke Of Hamilton
23
Project For A Monument Dedicated To Louis Xvi
24
Classical Ruins -Kedleston Hall
25
Mary Curzon -
26
Mrs Sarah Siddons
27
Cardinal Robert De Curzon
28
John WesleyNational Portrait Gallery
29
The Death Of ArthurScottish National Gallery
30
The Four SeasonsKedleston Hall
31
Design For An Aviary And Pergola In The Chinese
32
View Of Sarsden
33
Design For The North Front Of A House On Clapham
34
Calling Card Of Humphrey Repton
35
The Work House, Illustration From
36
Ruth And Boaz
37
Mary CurzonKedleston Hall
38
Two Young Ladies In Calico Gowns
39
Humphrey Repton Surveying With A Theodolite
40
The Pump Room
41
Portrait Of William Hamilton
42
Classical RuinsKedleston Hall
43
Classical Ruins -Kedleston Hall
44
The PilgrimBirmingham Museum and Art Gallery
45
Scene From Shakespeare's 'the Winter's Tale'
46
Scene From Shakespeare's 'a Winter's Tale'Birmingham Museum and Art Gallery
47
The Four Seasons. Summer – Triumph of Apollo
48
The Four Seasons. Summer – Triumph of Apollo
49
Mary Stephens Wells, Nee Davies
50
Classical Ruins -Kedleston Hall
51
The Four Seasons: Autumn - Triumph of Silenus, Bacchus and Ariadne
52
Two Women With A Baby Conversing In A Wood
53
John Philip Kemble As Richard Iii In 'richard Iii'
54
Ceres And ArethusaKedleston Hall
55
Henry SiddonsScottish National Portrait Gallery
56
Sarah Siddons
57
The Four Seasons. Autumn – Triumph of Selinus, Bacchus and Ariadne
58
Apollo And HyacinthusKedleston Hall
59
The Honourable, Later Admiral, Henry CurzonKedleston Hall
60
Vertumnus And Pomona
61
The Watercress-gatherers
62
Scene From 'the Tempest' By William Shakespeare
63
A Scene From 'as You Like It' By William Shakespeare
64
The Nut-gatherers
65
Duke of Hamilton's return from coursing
66
The Landing Of Richard Ii At Milford Haven
67
'twelfth Night' By William Shakespeare
68
John Philip Kemble
69
Maria, Olivia And Viola From 'twelfth Night' By William Shakespeare
70
Sarah Siddons As Isabella From 'the Tragedy Of Isabella' Or 'the Fatal Marriage'
71
'a Winter's Tale', Act Iv, Scene 3, The Shepherd's Cot
72
Marie Antoinette being taken to her Execution, October 16, 17931794 · Museum of the French Revolution
73
King Edgar's First Interview With Queen ElfridaSudbury Hall
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 Vilijam Hamilton | Slike iz ovog spiska |
|---|---|---|---|
 Kedleston Hall |
10 | Ruth and Boaz, Classical Ruins -, The Four Seasons | |
 Yale Center for British Art |
New Haven | 2 | John Palmer Whalley, The revelation of Olivia's betrothal, from "Twelfth Night," Act V, Scene i |
 Birmingham Museum and Art Gallery |
Birmingem | 2 | The Pilgrim, Scene From Shakespeare's 'a Winter's Tale' |
 Los Angeles County Museum of Art |
Los Anđeles | 1 | Alexander Masterton and His Wife and Children |
 Art Gallery of New South Wales |
Sidnej | 1 | Christ and the woman of Samaria |
 Detroit Institute of Arts |
Detroit | 1 | Celadon and Amelia |
 Muzej fine umetnosti u Hjustonu |
Hjuston | 1 | Edwy and Elgiva: A Scene from Saxon History |
 Phoenix Art Museum |
Phoenix | 1 | The Wolves Descending from the Alps |
Izaberite deceniju da biste videli original koji je definiše.
In this portrait of John Palmer Whalley, William Hamilton captures a moment of quietude from about 1775. The subject is a young boy, presented in an intimate, waist-up view that feels like a sudden encounter in a private room. He is framed within an oval composition, a shape that focuses the eye entirely on his youthful presence. This work is held within the Yale Center for British Art collection.
In this oil on canvas painting from 1792, two primary figures occupy the foreground of a landscape centered around a stone well. On the left, a seated man is draped in heavy blue and deep red robes. He extends an open hand toward a woman standing on the right. This woman wears a golden-yellow gown with white sleeves and a light headwrap, her hands holding a rope attached to a…
John Palmer Whalley (1775), Yale Center for British Art, New Haven. Slede Alexander Masterton and His Wife and Children (1834) i Christ and the woman of Samaria (1792).
24 godina: John Palmer Whalley datira iz 1775, a Vilijam Hamilton je rođen/a 1751.
John Palmer Whalley, Alexander Masterton and His Wife and Children, Christ and the woman of Samaria, Celadon and Amelia, Ruth and Boaz, Edwy and Elgiva: A Scene from Saxon History, The revelation of Olivia's betrothal, from "Twelfth Night," Act V, Scene i, The Wolves Descending from the Alps, Joan of Arc and the Furies i The carousing of Sir Toby Belch and Sir Anthony Aguecheek. Gornji rang pokazuje godinu i muzej za svako od njih.
Naš katalog sadrži 73 dela umetnika Vilijam Hamilton, datiranih od 1775 do 1800.
Većinom u Kedleston Hall, Yale Center for British Art (New Haven) i Birmingham Museum and Art Gallery (Birmingem). Tabela muzeja iznad sadrži njih sve.
U 1790s: 15 od 73 dela na ovoj stranici nastalo je tada, od čega je Christ and the woman of Samaria.
Na ovoj stranici, najstarije delo je iz John Palmer Whalley (1775), a najnovije iz Calypso receiving Telemachus and Mentor in the Grotto (1800).
Scenes (4), Gods (4) i Man (3), kroz svih 73 dela na ovoj stranici.
Oil On Canvas, za 5 od 73 dela na ovoj stranici.
Neoclassicism i Baroque, sudeći po originalima na ovoj stranici.
Ruth and Boaz, Classical Ruins - i The Four Seasons: Kedleston Hall čuva 10 dela sa ove stranice.
Da, kao reprodukcija: original ostaje u svom muzeju, ali svaku sliku sa ove stranice može se ručno naslikati za vas, po vašoj narudžbi, pojedinačno, direktno sa stranice te slike.
U živopisnoj, intelektualno nabijenoj atmosferi georgijanske Britanije, malo je figura utelesilo jedinstvenu sintezu estetske gracioznosti i naučne rigoroznosti kao Vilijam Hamilton. Rođen u Čelsiju, u Londonu, 1751. godine, Hamilton je bio mnogo više od običnog slikara; bio je pravi polimat čiji je životni rad premostio jaz između delikatnih nijansi neklasične umetnosti i preciznih zapažanja prirodne nauke. Njegovo putovanje nije počelo četkicom, već disciplinovanim okom arhitektonskog crtača, što je postavio temelj koji će kasnije svojim platnima podneti neprevaziđenu strukturnu jasnoću i pedantni detalj.
Hamiltonova umetnička evolucija bila je duboko oblikovana susretima sa maestrom svog doba. Njegovo formalno obrazovanje pod legendarnim Džošuom Rejnoldsom—titanom britanske portretistike—istaklo je u njemu duboko poštovanje prema realizmu i idealizovanoj lepoti karakterističnoj za neklasičnu tradiciju. Međutim, njegova žeđ za znanjem odvela ga je daleko izvan studija Londona. Putovanja kroz Italiju, gde je studirao kod venecijanskog umetnika Antonija Cučija, proširila su njegov vizuelni rečnik, omogućavajući mu da u svoje radove unese klasični grandioznost Rima i luminousnu svetlost Mediterana.
Ono što Hamiltona istinski izdvaja od njegovih savremenika bila je njegova odbringa da posmatra umetnost kao izolovanu težnju. Za Hamiltona, platno je bilo laboratorija za posmatranje. Tokom boravka u Napulju, po nalogu kralja Džordža III, započeo je ambiciozan projekat dokumentovanja Napuljske kraljevske kolekcije. Ovaj poduhvat zahtevao je od njega da nastupa i kao umetnik i kao naturalist; dok je slikao, istovremeno se prepuštao proučavanom botanike i geologije. Rezultat je bio korpus dela koji je služio kao vitalni naučni zapis, gde je svaki latica i svaka mineralna vena bila prikazana sa preciznošću koja je zadovoljavala i pesnika i naučnika.
Ova dualna strast najočiglednija je u njegovim slavnim portretima i dramatičnim scenama. Dok dela poput „Portreta Sare Sidons” beleže emotivnu dubinu i teatralnu eleganciju tog perioda, ona su potkrepljena tehničkom preciznošću koja svedoči o njegovom naučnom obrazovanju. Njegova sposobnost da spoji široku dramu rokokoa sa disciplinovanim posmatranjem prosvetiteljstva omogućila mu je stvaranje dela koja su istovremeno emocionalno rezonantna i intelektualno duboka.
Kako je njegova karijera napredovala, Hamilton je postao majstor naracije, postigavši ogroman uspeh u ilustrovanju književnih divova svog vremena. Bio je ključna figura u nekoliko velikih izdavačkih poduhvata, a najznačajniji doprinos dao je Šekspirovoj galeriji Džona Boldela. Njegova sposobnost da prenese epsku razmeru Šekspirove drame na platno učinila ga je miljenikom javnosti, jer su njegove ilustracije bile široko reprodukovane u popularnim printovima, unoseći visoku umetnost u domove rastuće srednje klacije.
Izvan scene i studije, Hamiltonov domet protezao se do samog pulsa savremene istorije. Posedovao je retku sposobnost da uhvati duh vremena, slikajući moderne događaje—poput tragičnog pogubljenja Marije Antoanete—sa istom težinom i epskom kompozicijom koja je obično rezervisana za drevne legende. Ovaj kapacitet da se savremena drama uzdigne na nivo istorijskog mita učvrstio je njegovu reputaciju kao jednog od najsvestranijih umetnika kasnog 18. veka.
Do trenutka svoje smrti 1801. godine, Vilijam Hamilton je osigurao trajno mesto u annalsima Kraljevskog akademskog društva, napredujući od pridružene do punopravne članice. Njegovo nasleđe ne nalazi se samo u pojedinačnim remek-delima, već u samom duhu njegovog pristupa: ideji da umetnost može biti posrednik istine, bilo da se ta istina nalazi u krivini ljudskog obraza ili u zamrškoj strukturi geološkog uzorka.
Njegovi doprinosi mogu se sažeti kroz nekoliko ključnih stubova njegove karijere:
Danas Hamilton ostaje simbol Prosvetiteljstva—podsetnik na vreme kada granice između umetnosti i nauke nisu bile zidovi, već prozori kroz koje možemo bolje razumeti svet.
