Thomas Barber 肖像

33 幅最著名的 Thomas Barber 作品,画廊精选

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) · 45 件 Thomas Barber 作品收录于我们的目录中

简而言之

在 Thomas Barber 留下的所有原作中,最著名的当属收藏于 诺丁汉 Nottingham Castle Museum And Art Gallery 的《Self Portrait (1841)》。 紧随其后的是 The Honourable Charles James Fox (1749–1806), MP (after Joshua Reynolds) (1784) 和 Francis James Curzon Mary Curzon, Later Mrs John Beaumont and Alfred Curzon (1812)。 我们的目录收录了 Thomas Barber 的 45 件作品;画廊完整保留了 33 件享誉世界的杰作,并为每一件作品详细标注了创作日期、馆藏机构及其背后的故事。

1771 – 1843, Nottingham Neoclassicism 藏品最多:Nottingham Castle Museum And Art Gallery

Thomas Barber 的十大名画:画廊精选

1
Self Portrait (1841) 由 Thomas Barber

Self Portrait

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…

2
The Honourable Charles James Fox (1749–1806), MP (after Joshua Reynolds) (1784) 由 Thomas Barber

The Honourable Charles James Fox (1749–1806), MP (after Joshua Reynolds)

1784 · Oil On Canvas · 国家信托基金会, 切斯特菲尔德

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…

3
Francis James Curzon Mary Curzon, Later Mrs John Beaumont and Alfred Curzon (1812) 由 Thomas Barber

Francis James Curzon Mary Curzon, Later Mrs John Beaumont and Alfred Curzon

1812 · Oil On Canvas

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.

4
Lady Caroline Gordon (1785–1866), Lady Chesham (1814) 由 Thomas Barber

Lady Caroline Gordon (1785–1866), Lady Chesham

1814 · Oil On Canvas · 国家信托基金会, 切斯特菲尔德

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…

5
James Montgomery 由 Thomas Barber

James Montgomery

Oil On Canvas · 谢菲尔德城市美术馆, 谢菲尔德

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.

Thomas Barber 系列持续更新,第 11 至 33 项

11Francis James Curzon (1803–1851) Mary Curzon (1806–1868), Later Mrs John Beaumont and Alfred Curzon (1801–1850) (1812) 由 Thomas BarberFrancis James Curzon (1803–1851) Mary Curzon (1806–1868), Later Mrs John Beaumont and Alfred Curzon (1801–1850)1812 · National Trust 12Lady Anne Margaret Coke, Viscountess Anson (1815) 由 Thomas BarberLady Anne Margaret Coke, Viscountess Anson1815 · Shugborough Hall 13The Honourable Anne Margaret Anson, Countess of Rosebery (1815) 由 Thomas BarberThe Honourable Anne Margaret Anson, Countess of Rosebery1815 · Shugborough Hall 14General Sir George Anson (1769–1849) (1815) 由 Thomas BarberGeneral Sir George Anson (1769–1849)1815 · National Trust 15General Sir William Anson (1772–1847), 1st Bt (1815) 由 Thomas BarberGeneral Sir William Anson (1772–1847), 1st Bt1815 · National Trust 16Landscape near Bath (1835) 由 Thomas BarberLandscape near Bath1835 · 爱尔兰国家美术馆 17Lord Denman (1779–1854) (1833) 由 Thomas BarberLord Denman (1779–1854)1833 · Nottingham Castle Museum And Art Gallery 18The Trent at Wilford (1840) 由 Thomas BarberThe Trent at Wilford1840 · Nottingham Castle Museum And Art Gallery 19The Reverend John Thomas Becher (1770–1848) 由 Thomas BarberThe Reverend John Thomas Becher (1770–1848) 20James Montgomery (1771–1854) 由 Thomas BarberJames Montgomery (1771–1854) 21Henry Kirke White, Poet 由 Thomas BarberHenry Kirke White, PoetNottingham Castle Museum And Art Gallery 22The Reverend Lewis Sneyd (c.1788–1858) 由 Thomas BarberThe Reverend Lewis Sneyd (c.1788–1858)国家信托基金会 23Charles Compton Cavendish (1793–1863), 1st Lord Chesham 由 Thomas BarberCharles Compton Cavendish (1793–1863), 1st Lord Chesham国家信托基金会 24Cecil Brooke Boothby (1813–1883) 由 Thomas BarberCecil Brooke Boothby (1813–1883)国家信托基金会 25Landscape with Cattle 由 Thomas BarberLandscape with CattleReading Public Museum 26Jonathan Dunn 由 Thomas BarberJonathan DunnNottingham Castle Museum And Art Gallery 27Joseph Murray (1737–1820) 由 Thomas BarberJoseph Murray (1737–1820) 28Reverend Richard Smith 由 Thomas BarberReverend Richard Smith国家信托基金会 29Benjamin Mayo (c.1779–1843), the Old General 由 Thomas BarberBenjamin Mayo (c.1779–1843), the Old General 30Sophia Baillie (1771–1843) 由 Thomas BarberSophia Baillie (1771–1843) 31David Love (1750–1827), Ballad Writer 由 Thomas BarberDavid Love (1750–1827), Ballad WriterNottingham Castle Museum And Art Gallery 32View across Nottingham Park with Lenton Priory in the Distance 由 Thomas BarberView across Nottingham Park with Lenton Priory in the DistanceNottingham Castle Museum And Art Gallery 33Cornelius Smelt (1748–1832), Lieutenant Governor of the Isle of Man (1805–1832) (1826) 由 Thomas BarberCornelius Smelt (1748–1832), Lieutenant Governor of the Isle of Man (1805–1832)1826 · Manx Museum

令 Thomas Barber 驻足的创作主题

这些原作中反复出现的四个主题,各有一个最杰出的范例。

收藏有 Thomas Barber 原作的博物馆

收藏了本页中大部分画作的 8 家博物馆。

博物馆 城市 Thomas Barber 的作品 此列表中的画作
Nottingham Castle Museum And Art Gallery, 诺丁汉Nottingham Castle Museum And Art Gallery 诺丁汉 7 Self Portrait, Lord Denman (1779–1854), The Trent at Wilford
国家信托基金会, 切斯特菲尔德国家信托基金会 切斯特菲尔德 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, 德比National Trust 德比 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-TrentShugborough Hall Stoke-on-Trent 2 Lady Anne Margaret Coke, Viscountess Anson, The Honourable Anne Margaret Anson, Countess of Rosebery
National Trust, MilfordNational Trust Milford 2 General Sir George Anson (1769–1849), General Sir William Anson (1772–1847), 1st Bt
谢菲尔德城市美术馆, 谢菲尔德谢菲尔德城市美术馆 谢菲尔德 1 James Montgomery
Royal College of Physicians of London, 伦敦Royal College of Physicians of London 伦敦 1 Matthew Baillie
爱尔兰国家美术馆, 都柏林爱尔兰国家美术馆 都柏林 1 Landscape near Bath

Thomas Barber 的年代演变:定义每个时代的原创之作

各年代作品数量

选择一个年代,探索定义该时代的原创杰作。

藏家关于 Thomas Barber 作品的常见问题

Thomas Barber 最著名的作品是哪一件?揭晓答案

Self Portrait (1841),Nottingham Castle Museum And Art Gallery, 诺丁汉。紧随其后的是 The Honourable Charles James Fox (1749–1806), MP (after Joshua Reynolds) (1784) 和 Francis James Curzon Mary Curzon, Later Mrs John Beaumont and Alfred Curzon (1812)。

创作 Self Portrait 时,Thomas Barber 是多少岁?揭晓答案

70岁:Self Portrait创作于1841年,Thomas Barber出生于1771年。

Thomas Barber 最著名的十幅画作是什么?揭晓答案

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) 及 Lady Harriet Cavendish (1785–1862), Countess Granville。上方排名显示了每件作品的创作年份及馆藏机构。

Thomas Barber 留下了多少幅画作?揭晓答案

我们的目录收录了 45 件 Thomas Barber 的作品,创作年代从 1784 年至 1841 年。

Thomas Barber 的杰作收藏在哪些博物馆中?揭晓答案

多见于 Nottingham Castle Museum And Art Gallery (诺丁汉), 国家信托基金会 (切斯特菲尔德) 及 National Trust (德比)。上方的博物馆列表列出了所有相关机构。

Thomas Barber 在哪些年份创作了最著名的作品?揭晓答案

在 1810s 期间:本页 33 件作品中有 8 件创作于该时期,其中包含 Francis James Curzon Mary Curzon, Later Mrs John Beaumont and Alfred Curzon 件作品。

Thomas Barber 的首件与末件名作原件分别是哪几件?揭晓答案

在本页面中,最早的作品创作于 The Honourable Charles James Fox (1749–1806), MP (after Joshua Reynolds) (1784),最晚的创作于 Self Portrait (1841)。

Thomas Barber 最常创作的主题是什么?揭晓答案

Portrait (4), Dignified (4) 及 Formal (4),共计 33 件作品。

Thomas Barber 最常用的技法是什么?揭晓答案

Oil On Canvas,共计 4 件(本页共有 33 件作品)。

Thomas Barber 属于哪种艺术流派?揭晓答案

根据本页面的原作,Neoclassicism

哪些 Thomas Barber 的作品在 Nottingham Castle Museum And Art Gallery 展出?揭晓答案

Self Portrait, Lord Denman (1779–1854) 及 The Trent at Wilford:Nottingham Castle Museum And Art Gallery, 诺丁汉收藏了本页中 7 件作品。

Thomas Barber:生平与作品

The Multifaceted Legacy of Thomas Barber

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.

Mastery of the Miniature and Royal Patronage

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:

  • Lady Caroline Gordon: An 1814 oil portrait that stands as a testament to his ability to convey elegance and wealth through refined brushwork.
  • Henry Kirke White, Poet: A poignant neoclassical portrait that utilizes subtle expression and masterful oil techniques to evoke a sense of remembrance and intellectual status.
  • The Reverend John Thomas Becher: A later work from 1848 that demonstrates his command over dramatic lighting and meticulous detail, reflecting the dignified style of his mature period.

A Life of Service and Entrepreneurial Spirit

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.