Оновлено Листопад 2026 · за рейтингом нашої популярності (кількість пошукових запитів, переглядів та замовлень для кожної роботи) · 45 робіт Thomas Barber у нашому каталозі
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З усіх оригінальних робіт, які залишив Thomas Barber, найвідомішою є Self Portrait (1841) із колекції Nottingham Castle Museum And Art Gallery, Ноттінгем. Слідом за ними йдуть The Honourable Charles James Fox (1749–1806), MP (after Joshua Reynolds) (1784) та Francis James Curzon Mary Curzon, Later Mrs John Beaumont and Alfred Curzon (1812). Наш каталог містить 45 робіт Thomas Barber; галерея зберегла 33 найвідоміших у світі творів, кожен із яких представлений із датою створення, назвою музею та своєю історією.
In this 1841 work, we encounter the artist himself, captured in a moment of quiet introspection. The portrait presents a man dressed in the formal attire of the nineteenth century, wearing a dark coat, a crisp white collar, and a tie. A mustache defines his features, lending a sense of maturity and gravity to his expression. It is an intimate study of character, rendered with a precision that suggests a…
The subject sits anchored in a sea of dark blues and deep browns. He is a man of middle age, his face etched with the quiet gravity of a life spent in the public eye. Light falls from the upper left, carving the contours of his brow and the sharp lines around his mouth. He holds books against his chest, his hands resting with a heavy, certain stillness. These volumes…
The oil painting titled Francis James Curzon Mary Curzon, Later Mrs John Beaumont and Alfred Curzon was executed by the artist Thomas Barber the Elder. This work depicts three children: Alfred Curzon, Francis James Curzon, and Mary Curzon. These subjects are the children of the 2nd Baron Scarsdale and Félicité de Wattines, of Flanders. The figures are presented in a three-quarter length portrait format.
This oil on canvas portrait, executed in 1814, depicts Lady Caroline Gordon, later known as Lady Chesham. The subject is positioned in a seated posture, facing the viewer with a centered composition that emphasizes the head and upper torso. She is rendered against a dark, indistinct background that provides a high level of contrast to her pale skin and the light-colored fabric of her attire. The lighting is diffused from…
The oil on canvas painting titled "James Montgomery" presents a portrait of a man characterized by a white beard and a mustache. He is depicted wearing a black coat and a tie, positioned as if looking directly at the viewer. The subject stands before a brick wall background.
Francis James Curzon (1803–1851) Mary Curzon (1806–1868), Later Mrs John Beaumont and Alfred Curzon (1801–1850)1812 · National Trust
12
Lady Anne Margaret Coke, Viscountess Anson1815 · Shugborough Hall
13
The Honourable Anne Margaret Anson, Countess of Rosebery1815 · Shugborough Hall
14
General Sir George Anson (1769–1849)1815 · National Trust
15
General Sir William Anson (1772–1847), 1st Bt1815 · National Trust
16
Landscape near Bath1835 · Національна галерея Ірландії
17
Lord Denman (1779–1854)1833 · Nottingham Castle Museum And Art Gallery
18
The Trent at Wilford1840 · Nottingham Castle Museum And Art Gallery
19
The Reverend John Thomas Becher (1770–1848)
20
James Montgomery (1771–1854)
21
Henry Kirke White, PoetNottingham Castle Museum And Art Gallery
22
The Reverend Lewis Sneyd (c.1788–1858)Національна Галерея
23
Charles Compton Cavendish (1793–1863), 1st Lord CheshamНаціональна Галерея
24
Cecil Brooke Boothby (1813–1883)Національна Галерея
25
Landscape with CattleReading Public Museum
26
Jonathan DunnNottingham Castle Museum And Art Gallery
27
Joseph Murray (1737–1820)
28
Reverend Richard SmithНаціональна Галерея
29
Benjamin Mayo (c.1779–1843), the Old General
30
Sophia Baillie (1771–1843)
31
David Love (1750–1827), Ballad WriterNottingham Castle Museum And Art Gallery
32
View across Nottingham Park with Lenton Priory in the DistanceNottingham Castle Museum And Art Gallery
33
Cornelius Smelt (1748–1832), Lieutenant Governor of the Isle of Man (1805–1832)1826 · Manx Museum
Чотири сюжети, які найчастіше зустрічаються в цих оригіналах, кожен із найкращим прикладом.
8 музеїв, у яких зберігається найбільша кількість картин із цього списку.
| Музей | Місто | Твори Thomas Barber | Картини зі цього списку |
|---|---|---|---|
 Nottingham Castle Museum And Art Gallery |
Ноттінгем | 7 | Self Portrait, Lord Denman (1779–1854), The Trent at Wilford |
 Національна Галерея |
Честерфилд | 7 | The Honourable Charles James Fox (1749–1806), MP (after Joshua Reynolds), Lady Caroline Gordon (1785–1866), Lady Chesham, Lady Harriet Cavendish (1785–1862), Countess Granville |
 National Trust |
Дербі | 2 | Mrs Garnett (1724–1809), in the Marble Hall, Francis James Curzon (1803–1851) Mary Curzon (1806–1868), Later Mrs John Beaumont and Alfred Curzon (1801–1850) |
 Shugborough Hall |
Stoke-on-Trent | 2 | Lady Anne Margaret Coke, Viscountess Anson, The Honourable Anne Margaret Anson, Countess of Rosebery |
 National Trust |
Milford | 2 | General Sir George Anson (1769–1849), General Sir William Anson (1772–1847), 1st Bt |
 Sheffield City Art Galleries |
Шеффілд | 1 | James Montgomery |
 Royal College of Physicians of London |
Лондон | 1 | Matthew Baillie |
 Національна галерея Ірландії |
Дублін | 1 | Landscape near Bath |
Оберіть десятиліття, щоб побачити оригінальний твір, який його визначає.
The subject sits anchored in a sea of dark blues and deep browns. He is a man of middle age, his face etched with the quiet gravity of a life spent in the public eye. Light falls from the upper left, carving the contours of his brow and the sharp lines around his mouth. He holds books against his chest, his hands resting with a heavy, certain stillness. These volumes…
The oil painting titled Francis James Curzon Mary Curzon, Later Mrs John Beaumont and Alfred Curzon was executed by the artist Thomas Barber the Elder. This work depicts three children: Alfred Curzon, Francis James Curzon, and Mary Curzon. These subjects are the children of the 2nd Baron Scarsdale and Félicité de Wattines, of Flanders. The figures are presented in a three-quarter length portrait format.
In this 1841 work, we encounter the artist himself, captured in a moment of quiet introspection. The portrait presents a man dressed in the formal attire of the nineteenth century, wearing a dark coat, a crisp white collar, and a tie. A mustache defines his features, lending a sense of maturity and gravity to his expression. It is an intimate study of character, rendered with a precision that suggests a…
Self Portrait (1841), Nottingham Castle Museum And Art Gallery, Ноттінгем. Далі йдуть The Honourable Charles James Fox (1749–1806), MP (after Joshua Reynolds) (1784) та Francis James Curzon Mary Curzon, Later Mrs John Beaumont and Alfred Curzon (1812).
70 років: Self Portrait датована 1841 роком, а Thomas Barber народився(-лася) у 1771.
Self Portrait, The Honourable Charles James Fox (1749–1806), MP (after Joshua Reynolds), Francis James Curzon Mary Curzon, Later Mrs John Beaumont and Alfred Curzon, Lady Caroline Gordon (1785–1866), Lady Chesham, James Montgomery, Mrs Garnett, in the Marble Hall, Mrs Garnett (1724–1809), in the Marble Hall, Matthew Baillie, Matthew Baillie (1761–1823) та Lady Harriet Cavendish (1785–1862), Countess Granville. У рейтингу вище вказано рік створення та музей для кожної картини.
Наш каталог містить 45 робіт Thomas Barber, датованих періодом з 1784 по 1841.
Переважно в Nottingham Castle Museum And Art Gallery (Ноттінгем), Національна Галерея (Честерфилд) та National Trust (Дербі). У таблиці музеїв вище наведено їхній повний перелік.
У 1810s: 8 із 33 робіт на цій сторінці були створені тоді, серед них Francis James Curzon Mary Curzon, Later Mrs John Beaumont and Alfred Curzon.
На цій сторінці найдавніша робота датована The Honourable Charles James Fox (1749–1806), MP (after Joshua Reynolds) (1784), а найновіша — Self Portrait (1841).
Portrait (4), Dignified (4) та Formal (4), у 33 роботах на цій сторінці.
Oil On Canvas, для 4 із 33 робіт на цій сторінці.
Neoclassicism, судячи з оригіналів на цій сторінці.
Self Portrait, Lord Denman (1779–1854) та The Trent at Wilford: Nottingham Castle Museum And Art Gallery, Ноттінгем зберігає 7 робіт із цієї сторінки.
In the vibrant tapestry of the early nineteenth century, few figures embodied the intersection of military discipline and artistic refinement as uniquely as Thomas Barber. Known to many in his era as Barber Beaumont, this remarkable individual led a life that defied simple categorization. Born on December 21, 1774, in the heart of St Marylebone, London, Barber was far more than a mere painter; he was a British army officer, an author, a philanthropist, and a pioneer of miniature portraiture. His journey from the bustling streets of London to the service of royalty and the establishment of significant social institutions reflects a life driven by an unyielding ambition and a profound dedication to both aesthetic beauty and public service.
The artistic soul of Barber was nurtured through a rigorous classical education, which instilled in him a lifelong reverence for historical narrative and neoclassical ideals. Under the influential tutelage of Henry Kirke White, Barber developed a stylistic language characterized by meticulous detail and a dramatic use of light. This training allowed him to navigate the prestigious circles of the Royal Academy's aesthetic, where he mastered the ability to breathe life into both grand historical scenes and intimate portraits. His work often sought to capture the very essence of his subjects, blending the monumental scale of history painting with the delicate, emotive precision required for miniature portraiture.
While his ambitions reached toward the epic, it was in the intimate realm of miniature painting that Barber achieved his most enduring acclaim. His ability to render the dignity and grace of the aristocracy within a small, exquisitely crafted frame made him a sought-after portraitist for the British elite. Most notably, his role as the miniature painter to the Duke of Clarence—who would later ascend the throne as King William IV—cemented his status within the highest echelons of society. Through these small-scale masterpieces, Barber did not merely record faces; he captured the social standing, character, and enduring legacy of a generation.
His portfolio serves as a window into the Neoclassical era, showcasing a range of subjects that highlight his technical versatility:
Beyond the studio and the battlefield, Barber’s life was defined by a remarkable entrepreneurial spirit and a commitment to social welfare. His experiences as an officer, which included service in South America, provided him with a worldly perspective that informed his later ventures in London. He was not content to remain solely within the realm of fine arts; he applied the same precision found in his paintings to the world of commerce and philanthropy. His involvement in founding insurance offices and his leadership roles in organizations such as the Royal Victoria Rifle Club and the Provident Institution reveal a man deeply invested in the stability and progress of British society.
Ultimately, the historical significance of Thomas Barber lies in this rare synthesis of talents. He was an artist who understood the weight of history, an officer who understood the necessity of order, and a businessman who understood the value of security. Though his name may sometimes be obscured by the alias Beaumont, his contribution to the visual and social fabric of the nineteenth century remains indelible. Through his canvases, we continue to witness the grace of a bygone era, preserved through the eyes of a man who mastered both the brush and the complexities of life itself.
