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） · 189 件 乔治·凯勒布·宾厄姆 作品收录于我们的目录中
简而言之
在 乔治·凯勒布·宾厄姆 留下的所有原作中，最著名的当属收藏于 波士顿 波士顿美术馆 的《The Squatters (1850)》。 紧随其后的是 Country Politician (1849) 和 Trappers' Return (1851)。 我们的目录收录了 乔治·凯勒布·宾厄姆 的 189 件作品；画廊完整保留了 100 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。
To gaze upon "The Squatters" is to be transported across time, standing at the threshold of a bygone American era. This painting captures more than just a scene; it encapsulates an entire ethos—the raw, tenacious spirit of early settlement in the vast American West during the mid-nineteenth century. The composition centers on two figures and their loyal dog, positioned before a humble, roughly constructed log cabin. It is a tableau…
Step closer and observe the quiet intensity within this dimly lit interior. We find ourselves in a rural Missouri tavern, a space where the air feels heavy with the weight of local discourse. The scene is centered upon a small group of men, their faces illuminated by a soft, diffused light that seems to emanate from a nearby stove. One man, likely a politician, leans forward in an attempt to…
In the quietude of George Caleb Bingham’s 1851 masterpiece, Trappers' Return, we are transported to the untamed heart of the nineteenth-century American Midwest. This evocative oil on canvas serves as a profound window into the era of westward expansion, capturing a moment of serene triumph along the winding Missouri River. The scene centers upon two rugged men navigating a canoe through the gentle currents, their journey marked by the presence…
The scene unfolds within the frame of The Mill Boy: The Boonville Juvenile Clay Club Banner. This work, painted by George Caleb Bingham, captures a specific moment of life from about 1844. The artist, George Caleb Bingham, focuses his attention on a single figure, presenting a portrait of a young man that feels immediate and present.
Bingham’s background profoundly shaped his artistic vision. Born in Augusta County, Virginia, he witnessed firsthand the challenges and opportunities presented by westward expansion – a theme that permeates much of his work. This experience instilled within him an understanding of the American spirit: resilience, determination, and a belief in self-governance. Washington himself becomes more than just a military commander; he transforms into an archetype of American virtue, representing the values…
This bust-length oil portrait is organized around a central subject who faces slightly toward the viewer's left. The composition is formal and somber, focusing the viewer's attention on the facial features and the character of the elderly man. A chiaroscuro-like lighting technique is employed, where light falls directly onto the subject's forehead, cheek, and collar. This directional light creates a sense of three-dimensional volume against the surrounding shadows. The background…
The room is dim, held in a soft, amber-hued stillness that seems to swallow the sounds of the outside world. An elderly woman sits at the center of this private universe, her body forming a steady, triangular shape that anchors the composition. She is lost in the pages of a large book, her gaze fixed upon the text with a focus that suggests a deep, internal dialogue. A single, unseen…
In this 1835 oil painting, we find ourselves drawn into a nocturnal classroom, a space defined by the heavy presence of shadow and the soft, localized glow of candlelight. The composition relies heavily on a chiaroscuro technique, where the darkness of the room is interrupted by the warm, directional light emanating from a central shaded lamp and small candles. This light directs our attention toward the figures at the heart…
The George Caleb Bingham Self-Portrait is a small-scale portrait painted by George Gillis Haanen. This intimate work, dated 1850, captures a quiet moment of presence. It offers a direct encounter with the subject through its modest dimensions.
A Moment of Quiet Contemplation Old Man in his Study presents us with an intimate glimpse into a private world. The scene is centered on an elderly man, seated and lost in deep thought or perhaps succumbing to the weight of fatigue. He sits within a dimly lit room, where heavy, dark drapery frames the right and top edges of the composition, creating a sense of enclosure that pulls the…
Mrs. Henry Lewis (Elizabeth Morton Woodson)1838 · 圣路易斯艺术博物馆
12
Shooting for the Beef1850 · 布鲁克林博物馆
13
The Student (Dr. Oscar Fitzland Potter)1848 · 圣路易斯艺术博物馆
14
Fiddler (study for the Jolly Flatboatmen)1846 · 纳尔逊-阿特金斯艺术博物馆
15
Study of a Boatman for Boatmen on the Missouri
16
Judge Henry Lewis1838 · 圣路易斯艺术博物馆
17
Deer in a Stormy Landscape1852
18
Order No. 111868
19
The Checker Players (also known as Playing Checkers)1850 · 底特律艺术学院
20
Rachel Spears Johnston (1786-1850)1837 · 明尼阿波利斯艺术学院
21
Dr. John Sappington1834
22
Major James Sidney Rollins1834
23
Miss Sallie Ann Camden1839
24
Landscape with Waterwheel and Boy Fishing1853 · 波士顿美术馆
25
Captain William Johnston (1776-1850)1850 · 明尼阿波利斯艺术学院
26
Portrait of Reverend John Glanville1845
27
Lighter Relieving the Steamboat Aground1846
28
Family Life on the Frontier1845
29
John Locke Hardeman1850
30
Portrait of Mrs. George Caleb Bingham (nee. Eliza K. Thomas)1849
31
The Verdict of the People1854
32
Mississippi Boatman1850
33
The Wood Boat1850 · 圣路易斯艺术博物馆
34
Jolly Flatboatmen in Port1857 · 圣路易斯艺术博物馆
35
Washington Crossing the Deleware1856
36
Jolly Flatboatmen in Port1857
37
Mary Frances Ward1871 · 纳尔逊-阿特金斯艺术博物馆
38
The Puzzled Witness1874
39
View of Pike's Peak1872 · 阿蒙·卡特美国艺术博物馆
40
Self Portrait1877 · 圣奥尔斯博物馆艺术馆
41
Samuel Bullitt Churchill1838
42
Self Portrait1834 · 圣路易斯艺术博物馆
43
Cottage Scene1845 · 国家美术馆
44
Raftsmen Playing Cards1847
45
Marketstall at Evening博伊曼斯·范·本宁根博物馆
46
Wood-Boatmen on a River1854 · 阿蒙·卡特美国艺术博物馆
47
Raftsmen Playing Card圣路易斯艺术博物馆
48
Canvassing for a Vote1851 · 圣奥尔斯博物馆艺术馆
49
Jane Breathitt Sappington (also known as Mrs. John Sappington)1834
50
Mrs. David Steele Lamme and Son, William Wirt1837
51
Leonidas Wetmore1839
52
Landscape with Cattle1846 · 圣路易斯艺术博物馆
53
part of a forest with figures1846
54
The Jolly Flatboatmen1846
55
Mrs. George Caleb Bingham (Sarah Elizabeth Hutchinson) and Son Newton1842
56
Landscape with Cattle1846
57
Landscape: Rural Scene1845
58
Captured by Indians1848 · 圣路易斯艺术博物馆
59
The Dull Story1843 · 圣路易斯艺术博物馆
60
The Concealed Enemy1845
61
Market By Moonlight1850 · Centraal Museum
62
Mississippi Boatman1850 · 国家美术馆
63
Sarah (Sallie) thomas1850
64
Stump Speaking1853 · 圣路易斯艺术博物馆
65
The County Election (no.2)1852
66
Watching the Cargo1849
67
In a Quandry (also known as Mississippi Raftsmen Playing Cards)1851
68
Watching the Cargo at Night (also known as Raftsmen at Night)1854
69
Portrait of a Woman with a Red Broach1849
70
In a Quandary, or Mississippi Raftsmen at Cards1851
71
The Emigration of Daniel Boone1851
72
Mrs. Robert Levi Todd (Sallie Woodson Hall) and Daughter Matilda Téte1860
73
Still Life With Jewelry Box1867 · Centraal Museum
74
Martial Law (also known as Order No. 11)1869
75
The Jolly Flatboatmen (2nd version)1877
76
Study of a Figure 41
77
Studies of Figures
78
Study of a Figure 33
79
Study of a Figure 44
80
Study of a Figure 42
81
Study of a Boatman 2
82
Study of a Boatman 3
83
Study of a Flatboatman
84
Study of a Figure 34
85
Study of a Figure 49
86
Study of a Figure 20
87
Study of a Boatman 1
88
Study of a Figure for Stump Speaking
89
Study of a Boatman for Boatmen on the Missouri 1
90
Study of a Figure 11
91
Study of a Young Spectator
92
Study of a Fiddler
93
Study of a Woodboatman 1
94
Study of a Figure 46
95
Study of a Figure 37
96
Study of a Pioneer
97
Study of a Figure 30
98
Study of a Figure 6
99
Study of a Figure 17
100
Study of a Figure 13
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 | 乔治·凯勒布·宾厄姆 的作品 | 此列表中的画作 |
|---|---|---|---|
 圣路易斯艺术博物馆 |
圣路易斯 | 15 | Mrs. Henry Lewis (Elizabeth Morton Woodson), The Student (Dr. Oscar Fitzland Potter), Judge Henry Lewis |
 底特律艺术学院 |
底特律 | 4 | Trappers' Return, John Quincy Adams, The Checker Players (also known as Playing Checkers) |
 国家博物馆 |
阿姆斯特丹 | 3 | Old Woman Reading, Night School, Old Man in his Study |
 阿蒙·卡特美国艺术博物馆 |
沃斯堡 | 3 | View of Pike's Peak, Wood-Boatmen on a River |
 圣奥尔斯博物馆艺术馆 |
堪萨斯城 | 3 | Self Portrait, Canvassing for a Vote |
 国家美术馆 |
华盛顿 | 3 | Cottage Scene, Mississippi Boatman |
 波士顿美术馆 |
波士顿 | 2 | The Squatters, Landscape with Waterwheel and Boy Fishing |
 纳尔逊-阿特金斯艺术博物馆 |
堪萨斯城 | 2 | Fiddler (study for the Jolly Flatboatmen), Mary Frances Ward |
选择一个年代，探索定义该时代的原创杰作。
The room is dim, held in a soft, amber-hued stillness that seems to swallow the sounds of the outside world. An elderly woman sits at the center of this private universe, her body forming a steady, triangular shape that anchors the composition. She is lost in the pages of a large book, her gaze fixed upon the text with a focus that suggests a deep, internal dialogue. A single, unseen…
Step closer and observe the quiet intensity within this dimly lit interior. We find ourselves in a rural Missouri tavern, a space where the air feels heavy with the weight of local discourse. The scene is centered upon a small group of men, their faces illuminated by a soft, diffused light that seems to emanate from a nearby stove. One man, likely a politician, leans forward in an attempt to…
To gaze upon "The Squatters" is to be transported across time, standing at the threshold of a bygone American era. This painting captures more than just a scene; it encapsulates an entire ethos—the raw, tenacious spirit of early settlement in the vast American West during the mid-nineteenth century. The composition centers on two figures and their loyal dog, positioned before a humble, roughly constructed log cabin. It is a tableau…
A frontier home stands as the silent witness to a sudden upheaval. Under a heavy sky, a group of men, women, and children gather in the dust, their faces etched with the quiet weight of uncertainty. The domestic peace of the house is broken by the presence of horses and a carriage, signaling a departure that feels both sudden and inevitable. There is a rhythmic balance to the figures, a…
The portrait of Mary Frances Ward emerges from the shadows of 1871, a quiet moment captured by the hand of George Caleb Bingham. In this intimate oil work, the artist turns his gaze toward the profound simplicity of infancy. The subject, a young child, sits at the heart of the composition, appearing almost suspended in a soft, luminous space. There is a sense of stillness here, as if the air…
The Squatters (1850)，波士顿美术馆, 波士顿。紧随其后的是 Country Politician (1849) 和 Trappers' Return (1851)。
39岁：The Squatters创作于1850年，乔治·凯勒布·宾厄姆出生于1811年。
The Squatters, Country Politician, Trappers' Return, The Mill Boy: The Boonville Juvenile Clay Club Banner, Washington Crossing the Delaware, John Quincy Adams, Old Woman Reading, Night School, George Caleb Bingham Self-Portrait 及 Old Man in his Study。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 189 件 乔治·凯勒布·宾厄姆 的作品，创作年代从 1833 年至 1877 年。
多见于 圣路易斯艺术博物馆 (圣路易斯), 底特律艺术学院 (底特律) 及 国家博物馆 (阿姆斯特丹)。上方的博物馆列表列出了所有相关机构。
在 1850s 期间：本页 100 件作品中有 27 件创作于该时期，其中包含 The Squatters 件作品。
在本页面中，最早的作品创作于 Old Man in his Study (1833)，最晚的创作于 Self Portrait (1877)。
Portrait (16), Man (15) 及 19th century (11)，共计 100 件作品。
Oil On Canvas，共计 36 件（本页共有 100 件作品）。
根据本页面的原作，American realism
Mrs. Henry Lewis (Elizabeth Morton Woodson), The Student (Dr. Oscar Fitzland Potter) 及 Judge Henry Lewis：圣路易斯艺术博物馆, 圣路易斯收藏了本页中 11 件作品。
