更新于 November 2026 · 基于我们的流行度评分排名（每件作品的搜索量、访问量及订单量） · 73 件 馬瑟．布朗 作品收录于我们的目录中
简而言之
在画廊看来，馬瑟．布朗 最著名的作品是 Sir Francis Buller, 1st Bt (1792)，其原作现收藏于 伦敦 的 国家肖像美术馆。 Master Charles William Park (1785) 与 Untitled (D2X2CK) (1790) 共同构成了那组令人过目不忘的艺术三部曲。 在我们的目录中，馬瑟．布朗 共有 73 件作品，画廊为您精选了以下 72 件最著名的原作，并详细列出了每件作品的创作年份、馆藏机构及其独特之处。
The gaze of Sir Francis Buller, 1st Bt, meets the viewer from within this 1792 oil on canvas. Mather Brown captures the man who lived from 1746 to 1800, freezing a moment of judicial authority upon the fabric of the late eighteenth century. The sitter occupies the space with a quiet, heavy presence, his identity tied to the legal weight of his station. One senses the gravity of his life's…
In this 1785 portrait, we encounter a young boy seated with a composure that feels far beyond his years. There is a stillness here, a sense of a moment caught in the soft light of a receding landscape. He is positioned centrally, his figure anchored by a rugged stone seat that suggests a connection to the natural world, even as his attire speaks of high social standing. The boy’s gaze…
A Commanding Presence: Mather Brown’s Portrait of General Cornwallis This large-scale oil painting (249 x 164 cm), created in 1790 by American artist Mather Brown, offers a compelling and dramatic portrayal of British General Charles Cornwallis – a key figure in the American Revolutionary War. More than just a likeness, this is a carefully constructed statement about power, military leadership, and the lingering echoes of conflict. Brown, who spent much…
The William Temple Franklin painting by Mather Brown utilizes a three-quarter view to establish the subject's presence. Positioned slightly off-center, the gentleman is seated at a desk cluttered with papers and books, a configuration that emphasizes literacy and intellectual status. This Neoclassical portraiture employs an eye-level perspective to create an intimate connection between the sitter and the viewer. Depth is constructed through a deliberate layering of elements: the subject occupies…
A middle-aged man is positioned in a three-quarter length portrait, oriented slightly to the left of the center. He wears a dark navy or black military coat, accented by gold embroidery on the lapels. Beneath the coat, a white waistcoat and a powdered wig provide a sharp contrast to the darker tones of his uniform. The lighting originates from the upper left, casting shadows across the right side of his…
This formal 18th-century portrait, painted in 1786, presents a three-quarter view of a young man positioned slightly off-center. Facing towards the right while looking directly at the viewer, the subject exudes an air of elegance and aristocratic poise. The composition utilizes a deep brown background to create a strong chiaroscuro effect, which serves to highlight the subject's face and his white powdered wig.
The oil-on-canvas work titled Self-portrait is a direct encounter with the artist, Mather Brown. Created about 1812, this bust-length portrait captures the man as he appeared during the early nineteenth century. The subject gazes out from the frame, meeting the observer's eyes with a steady, quiet presence.
In this 1787 oil on canvas, a young man is positioned in a three-quarter view from the chest upward. He wears a dark black coat that contrasts against a crisp white cravat wrapped around his neck. A powdered wig with soft, defined curls frames his face. Behind him, a heavy red drapery falls in deep folds, providing a saturated backdrop to the figure. The lighting is directional, casting one side…
This oil on canvas presents Sir George Augustus Elliott, Baron Heathfield, as rendered by the American-born painter Mather Brown. The work was executed between 1788 and 1791, a period during which Brown was establishing his presence within the London art scene. The portrait captures the likeness of a man whose military career was defined by service in three major eighteenth-century wars.
Portrait of Augustin Prevost in Uniform (for pair see - (109326))1723
12
Thomas Dawson, Viscount Cremorne1788 · 国家美术馆
13
George, Prince of Wales (1762-1830), later George IV白金汉宫
14
Portrait of a Man波士顿美术馆
15
Portrait Of Sir George Yonge
16
Portrait Of Charles Bulfinch
17
Sir John Colpoys
18
Sir John Eamer, Lord Mayor Of London
19
Thomas Fitzherbert
20
Rear Admiral Sir Home Popham
21
Henry Blundell
22
Portrait Of Major John Norton As Mohawk Chief Teyoninhokarawen耶鲁英国艺术中心
23
Lord Cornwallis Receiving The Sons Of Tipu As Hostages
24
Romeo And Juliet
25
Lady with a Dog1786 · 大都会艺术博物馆
26
Portrait of a Young Woman1801 · 大都会艺术博物馆
27
Portrait Of Sir John Eamer, Lord Mayor Of London
28
Lord Loughborough
29
Richard Clark
30
William Thomas
31
Peter Mellish, Sheriff
32
Ohn Williams A.K.A. Anthony Pasquin
33
John Bridge Aspinall
34
Sir William Dolben
35
Captain George Miller Bligh国家海事博物馆
36
Thomas Hugh Clifford Of Tixall
37
Anne Watts, Wife Of The 11th Earl Of Cassillis
38
Thomas Lowton
39
Portrait Of George Fermor
40
Frederick Augustus
41
Anne Brunton And Joseph Holman As Romeo And Juliet In 'romeo And Juliet'
42
Portrait of Hon. Harrison Gray
43
Sir John William Anderson
44
Portrait of Sir Richard ArkwrightNew Britain Museum of American Art
45
Captain The Honourable Archibald Kennedy
46
The Reverend Alban Thomas GwynneThe Homewood
47
Mary Anne Vevers), Mrs Alban Thomas Jones GwynneThe Homewood
48
Sir Christopher Wray
49
Thomas Howard, Earl Of Surrey, Defending His Allegiance To Richard Iii Before Henry Vii After The Ba
50
Henry Angelo国家肖像美术馆
51
Viscount Mount Stuart, Provost Of Rothesay
52
Portrait Of An Unknown Man
53
Portrait Of Joseph Bologne De Saint-george大都会艺术博物馆
54
Susannah Jones, Mrs Alban Thomas GwynneThe Homewood
55
John Smeaton
56
Colonel Alban Thomas Jones GwynneThe Homewood
57
John Adams
58
Miss Mary Barbara, Miss Mary Isabella, And Master Thomas Aston Clifford
59
Lord Mountstuart
60
John Howard国家肖像美术馆
61
Alexander Wedderburn苏格兰国家肖像画廊
62
Garrick Between Tragedy And Comedy
63
A Girl At A HarpsichordPollok House
64
Sir Charles Morgan
65
Purveyor, Army Medical Department
66
Lord George Augustus Cavendish
67
Franz Joseph Haydn
68
Sir Francis Buller, 1st Bt
69
The Baptism Of Henry Viii
70
The Battle Of The Nile - Destruction Of 'l'orient'国家海事博物馆
71
Lord Howe On The Deck Of The 'queen Charlotte'国家海事博物馆
72
Thomas Jefferson1786 · 国家肖像美术馆
这些原作中反复出现的四个主题，各有一个最杰出的范例。
收藏了本页中大部分画作的 8 家博物馆。
| 博物馆 | 城市 | 馬瑟．布朗 的作品 | 此列表中的画作 |
|---|---|---|---|
 国家肖像美术馆 |
伦敦 | 4 | Sir Francis Buller, 1st Bt, Henry Angelo, John Howard |
 大都会艺术博物馆 |
纽约 | 4 | Untitled (D2X2CK), Lady with a Dog, Portrait of a Young Woman |
 The Homewood |
4 | The Reverend Alban Thomas Gwynne, Mary Anne Vevers), Mrs Alban Thomas Jones Gwynne, Susannah Jones, Mrs Alban Thomas Gwynne | |
 国家海事博物馆 |
伦敦 | 3 | Captain George Miller Bligh, The Battle Of The Nile - Destruction Of 'l'orient', Lord Howe On The Deck Of The 'queen Charlotte' |
 底特律艺术学院 |
底特律 | 2 | Master Charles William Park, Sir George Augustus Elliott, Baron Heathfield |
 波士顿美术馆 |
波士顿 | 2 | A Commander in the East India Company, Portrait of a Man |
 国家美术馆 |
华盛顿 | 2 | William Vans Murray, Thomas Dawson, Viscount Cremorne |
 Gilcrease Museum |
塔尔萨 | 1 | William Temple Franklin painting |
选择一个年代，探索定义该时代的原创杰作。
In this 1785 portrait, we encounter a young boy seated with a composure that feels far beyond his years. There is a stillness here, a sense of a moment caught in the soft light of a receding landscape. He is positioned centrally, his figure anchored by a rugged stone seat that suggests a connection to the natural world, even as his attire speaks of high social standing. The boy’s gaze…
The gaze of Sir Francis Buller, 1st Bt, meets the viewer from within this 1792 oil on canvas. Mather Brown captures the man who lived from 1746 to 1800, freezing a moment of judicial authority upon the fabric of the late eighteenth century. The sitter occupies the space with a quiet, heavy presence, his identity tied to the legal weight of his station. One senses the gravity of his life's…
Mather Brown’s “Portrait of a Young Woman,” painted in 1801, is more than just a likeness; it's a carefully constructed tableau of Neoclassical grace and burgeoning Romantic sentiment. Born in Boston to a family steeped in New England intellectual history – tracing back to the influential Cotton and Increase Mather – Brown’s artistic journey led him from itinerant portraiture across New England to the vibrant, cosmopolitan world of London, where…
The oil-on-canvas work titled Self-portrait is a direct encounter with the artist, Mather Brown. Created about 1812, this bust-length portrait captures the man as he appeared during the early nineteenth century. The subject gazes out from the frame, meeting the observer's eyes with a steady, quiet presence.
Sir Francis Buller, 1st Bt (1792)，国家肖像美术馆, 伦敦。紧随其后的是 Master Charles William Park (1785) 和 Untitled (D2X2CK) (1790)。
31岁：Sir Francis Buller, 1st Bt创作于1792年，馬瑟．布朗出生于1761年。
Sir Francis Buller, 1st Bt, Master Charles William Park, Untitled (D2X2CK), William Temple Franklin painting, A Commander in the East India Company, William von Freytag (1711-1798), Charles Bulfinch (1763-1844), Self-portrait, William Vans Murray 及 Sir George Augustus Elliott, Baron Heathfield。上方排名显示了每件作品的创作年份及馆藏机构。
我们的目录收录了 73 件 馬瑟．布朗 的作品，创作年代从 1782 年至 1812 年。
多见于 国家肖像美术馆 (伦敦), 大都会艺术博物馆 (纽约) 及 The Homewood。上方的博物馆列表列出了所有相关机构。
在 1780s 期间：本页 72 件作品中有 9 件创作于该时期，其中包含 Master Charles William Park 件作品。
在本页面中，最早的作品创作于 William Temple Franklin painting (1782)，最晚的创作于 Self-portrait (1812)。
Portrait (10), Man (9) 及 Men (9)，共计 72 件作品。
Oil On Canvas，共计 10 件（本页共有 72 件作品）。
根据本页面的原作，Neoclassicism
Sir Francis Buller, 1st Bt, Henry Angelo 及 John Howard：国家肖像美术馆, 伦敦收藏了本页中 4 件作品。
马瑟·布朗（Mather Brown）宛如一座连接两个时代的迷人桥梁，其生平与作品深刻体现了18世纪末至19世纪初艺术潮流的变迁。这位于1761年出生于波士顿的画家，其艺术灵魂最初在殖民时期美国的知识熔炉中锻造，随后在伦敦宏伟的画室中找到了最终的表达。他的旅程不仅是一段个人的职业生涯，更映射了艺术理想从严谨、规整的新古典主义向情感充沛、充满戏剧性的浪漫主义转变的过程。正是这种转型，使布朗成为了一位多才多艺的叙事者，既能捕捉个人肖像中那份静谧的尊严，亦能描绘历史冲突中那股混沌的壮丽。
布朗精湛技艺的根基，可以追溯到他在传奇大师约翰·辛格顿·科普利（John Singleton Copley）门下的早期启蒙。在科普利的悉心指导下，布朗领悟了细致入微的细节处理之重要，并对古典形式有了深刻的理解。这种训练赋予了他足以在竞争激烈的欧洲艺术市场中立足的技术纪律。1790年移居伦敦时，他并非仅仅作为一个局外人到来，而是一位准备充分的专业人士，并迅速在享有盛誉的皇家艺术学院赢得了地位。这一成员身份是他职业生涯中的里程碑，标志着他已被接纳进英国艺术界的最高阶层，并为他提供了与那个时代最具影响力的人物进行交流的平台。
布朗的作品集展现了一种非凡的能力，能够根据题材的需求灵活调整其绘画技法。在肖像创作中，他拥有一种卓越的天赋，能够细腻地呈现人物性格与社会地位的微妙差异。通过对托马斯·杰斐逊（Thomas Jefferson）和本杰明·韦斯特（Benjamin West）等名流的描绘，他展现了对时代政治与社会潮流的敏锐洞察，赋予了画中人物一种永恒感与庄重感。无论是捕捉《带狗的女士》（Lady with a Dog）中的优雅风度，还是在《托马斯·洛顿》（Thomas Lowton）肖像中呈现的那种威严气场，布朗都巧妙地运用光影与质感，在画布上创造出栩栩如生、仿佛具有呼吸般的生命力。
除了肖像画这种亲密尺度的创作，布朗还试图捕捉史诗般的宏大场景。他是一位充满雄心的画家，经常将注意力转向那些需要驾驭复杂构图与戏剧性动态的历史题材画布。他的作品《尼罗河海战》（The Battle of the Nile）便是这种创作方法的巅峰之作；在其中，他告别了静止的古典形式，转而拥抱海战中那股旋涡般的能量与直击心灵的激烈感。在这些宏大作品中，我们可以窥见浪漫主义情感的萌芽——一种对崇高、力量以及历史事件变革本质的专注追求。
马瑟·布朗的艺术价值在于他扮演了文化纽带的角色。通过将美国训练所带来的精准度与伦敦艺术界的风格创新相结合，他参与塑造了一个由革命与转型定义的时代的视觉语言。他在肖像画的规范要求与历史画的叙事需求之间游刃有余，这使他在英国与美国的艺术意识中都留下了深远的影响。
时至今日，他的作品依然是理解西方艺术演进的重要基石。透过他的画布，我们得以见证：
