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） · 68 件 華盛頓·奧爾斯頓 作品收录于我们的目录中
简而言之
Self-Portrait (1799) 是 華盛頓·奧爾斯頓 最受瞩目的画作；原作收藏于 剑桥 的 哈佛艺术博物馆。 随后，目光会移向 Portrait of Captain A.H. Pray of the Boston Fusiliers (1796) 和 Dead Man Restored to Life by Touching the Bones of the Prophet Elisha (1811)。 在 華盛頓·奧爾斯頓 的 68 件作品中，这 68 件最为闻名；每一件都是独一无二的原作，并附有创作年份、馆藏机构及其经久不衰的原因。
A young man stares through the darkness. He sits in a three-quarter view, his gaze steady and unblinking against the viewer. A single, strong light source strikes the left side of his face, carving his features out of the gloom. This light catches the crisp white of his cravat and the smooth planes of his skin, leaving the rest of his form to dissolve into deep, moody shadows. Behind him,…
Washington Allston’s Portrait of Captain A.H. Pray of the Boston Fusiliers is a delicate and intimate miniature portrait of a young man. The composition employs a close-up, three-quarter view of the subject's head and shoulders, with the figure positioned slightly off-center. This arrangement creates a sense of immediacy, drawing the viewer into a private encounter with the sitter. The focus remains fixed entirely on the subject's expressive blue eyes and…
The oil on canvas titled Dead Man Restored to Life by Touching the Bones of the Prophet Elisha was painted by Washington Allston about 1811. This work captures a singular moment of biblical miracle. It depicts the resurrection of a man through the physical contact of his body with the bones of the prophet Elisha. The scene is a heavy, monumental arrangement of figures caught in the instant of divine…
The oil painting The Poor Author and the Rich Bookseller by Washington Allston depicts a dramatic interaction between three men within a sparse, dimly lit interior. The composition utilizes a triangular arrangement of the figures to guide the eye through the scene. This arrangement is supported by the receding lines of the floorboards and a doorway that leads toward a brightly lit window in the background. The subject matter suggests…
In this intimate oil portrait, Washington Allston captures William Ellery Channing, a man who occupied a significant place in the social and intellectual circles of the early nineteenth century. Painted about 1811, the work offers a quiet study of the subject's character. The connection between the painter and the sitter was deeply personal, as Channing was the brother of the artist's wife, Ann Channing. This familial bond likely contributed to…
In this 1799 oil on canvas, we find a young man caught in a moment of profound stillness. The composition is intimate, focusing on the upper torso and head to create a direct, almost unsettling connection with the viewer. He sits in a three-quarter view, his gaze steady and unblinking. A single, strong light source strikes the left side of his face, carving his features out of the gloom. This…
Katharina and Petruchio (Scene from Shakespeare's "The Taming of the Shrew") is an oil painting by the American painter and poet Washington Allston. Created in 1809, the work captures a dramatic moment of narrative tension. The scene focuses on the complex interactions between the central figures within a classical architectural setting.
The oil painting titled Petruchio attacks the Tailor in Act III, scene IV of The Taming of the Shrew captures a moment of sudden, violent movement. Washington Allston rendered this dramatic narrative work about 1809. The canvas holds a scene of friction and sudden gesture, frozen in the stillness of oil and pigment.
The artwork is titled First study for "Christ Healing the Sick" and was created by the artist Washington Allston. This specific piece functions as a preparatory study, a preliminary version intended to work out the composition and tonal values for a larger religious work. The work is a monochromatic, sepia-toned drawing or wash study, likely executed using ink, bistre, or sepia wash on paper.
In this intimate oil portrait, we find ourselves in the presence of a young man caught in a moment of profound introspection. The subject is positioned slightly off-center, his gaze directed toward the right of the frame as if lost in a private thought or a distant memory. There is a quietude here that feels almost heavy, a stillness that invites the viewer to lean in and observe the subtle…
Diana on a Chase1805 · 哈佛艺术博物馆
12
Study for "Jason Returning to Demand His Father's Kingdom"1807 · 哈佛艺术博物馆
13
Jeremiah Dictating His Prophecy of the Destruction of Jerusalem to Baruch the Scribe1820 · 耶鲁大学艺术馆
14
Beatrice1819 · 波士顿美术馆
15
Donna Mencia in the Robber's Cavern1815 · 波士顿美术馆
16
Head of a Jew1817 · 波士顿美术馆
17
Study for Belshazzar's Feast1817 · 波士顿美术馆
18
Study for "Belshazzar's Feast"; verso: Studies for "Angel Releasing Saint Peter from Prison"1817 · 哈佛艺术博物馆
19
Rebecca at the Well1816 · 哈佛艺术博物馆
20![A Study from Life [and] Study for Angel Releasing Saint Peter from Prison (1815) 由 華盛頓·奧爾斯頓](/media/artworks/images-thumb/ff/46/ff46c6226208aa3441d2d9ba42ab2d29.jpg)
A Study from Life [and] Study for Angel Releasing Saint Peter from Prison1815 · 大都会艺术博物馆
21
A Tuscan Girl1831 · New Britain Museum of American Art
22
Loammi Baldwin, Jr. (1780-1838); verso: Study for Female Head1823 · 哈佛艺术博物馆
23
Ideal Head1835 · Rhode Island School of Design Museum of Art
24
The Sisters1816 · 哈佛艺术博物馆
25
Elijah Fed by the Ravens1818 · 波士顿美术馆
26
A Landscape after Sunset1819 · 国家美术馆
27
Moonlit Landscape1819 · 波士顿美术馆
28
The Rising of a Thunderstorm at Sea1804 · 波士顿美术馆
29
Italian Shepard Boy底特律艺术学院
30
Rising of a Thunderstorm at Sea1804 · 波士顿美术馆
31
Landscape with a Lake1804 · 波士顿美术馆
32
Jacob's Dream1817 · Petworth House
33
Hermina and Helena1815
34
Miriam the Prophetess1821
35
Italian Landscape1814 · 托莱多艺术博物馆
36
Ship in a Squall1827 · 哈佛艺术博物馆
37
Landscape, American Scenery: Time, Afternoon, with a Southwest Haze1835 · 波士顿美术馆
38
Landscape Composition1834 · 哈佛艺术博物馆
39
The Angel Releasing St. Peter from Prison波士顿美术馆
40
Romantic Landscape
41
HEAD OF A JEW瑞典国家肖像画廊
42
Moses and the Serpent
43
Benjamin Lynde, Sr
44
Saul and the Witch of Endor
45
Italian Shepherd Boy1819 · 底特律艺术学院
46
Dr. John King1814 · 旧金山美术馆
47
Italian Landscape1828 · 底特律艺术学院
48
An American Landscape爱尔兰国家美术馆
49
Head of Saint Peter: Study for ''The Angel Releasing Saint Peter from Prison''宾夕法尼亚美术学院
50
Storm Rising at Sea
51
Christ Healing the Sick伍斯特艺术博物馆
52
The Spanish Girl in Reverie
53
Classical Landscape
54
Samuel Williams克利夫兰艺术博物馆
55
Jason Returning to Demand his Father's KingdomLowe Gallery
56
Landscape With A Lake
57
The Tippler
58
David Playing before Saul
59
Belshazzar's Feat底特律艺术学院
60
Samuel Taylor Coleridge国家肖像美术馆
61
The Opening of the Casket
62
Angel Releasing St. Peter from Prison
63
Meeting of Lear and Cordelia
64
Coast Scene on the Mediterranean
65
Hermia and Helena史密森尼美国艺术博物馆
66
乌瑞尔站在阳光下1817 · Mugar Memorial Library
67
The Flight of Florimell1819 · 底特律艺术学院
68
The Spanish Girl in Reverie1831 · 大都会艺术博物馆
#3 Dead Man Restored to Life by Touching the Bones of the Prophet Elisha
#7 Katharina and Petruchio (Scene from Shakespeare's "The Taming of the Shrew")
#8 Petruchio attacks the Tailor in Act III, scene IV of The Taming of the Shrew
#13 Jeremiah Dictating His Prophecy of the Destruction of Jerusalem to Baruch the Scribe
#15 Donna Mencia in the Robber's Cavern
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 | 華盛頓·奧爾斯頓 的作品 | 此列表中的画作 |
|---|---|---|---|
 波士顿美术馆 |
波士顿 | 14 | The Poor Author and the Rich Bookseller, William Ellery Channing, Self Portrait |
 哈佛艺术博物馆 |
剑桥 | 11 | Self-Portrait, First study for "Christ Healing the Sick", Samuel Taylor Coleridge (1772-1834) |
 底特律艺术学院 |
底特律 | 5 | Italian Shepard Boy, Italian Shepherd Boy, Italian Landscape |
 Rhode Island School of Design Museum of Art |
普罗维登斯 | 2 | Portrait of Captain A.H. Pray of the Boston Fusiliers, Ideal Head |
 宾夕法尼亚美术学院 |
费城 | 2 | Dead Man Restored to Life by Touching the Bones of the Prophet Elisha, Head of Saint Peter: Study for ''The Angel Releasing Saint Peter from Prison'' |
 大都会艺术博物馆 |
纽约 | 2 | A Study from Life [and] Study for Angel Releasing Saint Peter from Prison, The Spanish Girl in Reverie |
 费城艺术博物馆 |
费城 | 1 | Katharina and Petruchio (Scene from Shakespeare's "The Taming of the Shrew") |
 耶鲁大学艺术馆 |
纽黑文 | 1 | Jeremiah Dictating His Prophecy of the Destruction of Jerusalem to Baruch the Scribe |
选择一个年代，探索定义该时代的原创杰作。
A young man stares through the darkness. He sits in a three-quarter view, his gaze steady and unblinking against the viewer. A single, strong light source strikes the left side of his face, carving his features out of the gloom. This light catches the crisp white of his cravat and the smooth planes of his skin, leaving the rest of his form to dissolve into deep, moody shadows. Behind him,…
In this 1799 oil on canvas, we find a young man caught in a moment of profound stillness. The composition is intimate, focusing on the upper torso and head to create a direct, almost unsettling connection with the viewer. He sits in a three-quarter view, his gaze steady and unblinking. A single, strong light source strikes the left side of his face, carving his features out of the gloom. This…
The oil on canvas titled Dead Man Restored to Life by Touching the Bones of the Prophet Elisha was painted by Washington Allston about 1811. This work captures a singular moment of biblical miracle. It depicts the resurrection of a man through the physical contact of his body with the bones of the prophet Elisha. The scene is a heavy, monumental arrangement of figures caught in the instant of divine…
In this work, titled Jeremiah Dictating His Prophecy of the Destruction of Jerusalem to Baruch the Scribe, Washington Allston presents a somber biblical scene set within a dimly lit, architectural interior. The composition centers on two figures positioned amidst stone arches and a dark, recessed space. On the left, the prophet Jeremiah is depicted in a commanding yet distressed pose, his gaze directed upward as if receiving divine revelation. He…
In A Tuscan Girl, Washington Allston positions a single female figure centrally within a three-quarter length pose. Seated amidst dense foliage, the subject is illuminated by a soft, directional light striking from the upper left. This lighting highlights her face, shoulder, and chest, while a chiaroscuro effect casts the surrounding landscape into deep, shadowy tones. The woman's attire provides a sharp chromatic contrast to the dark background, featuring a red…
Self-Portrait (1799)，哈佛艺术博物馆, 剑桥。紧随其后的是 Portrait of Captain A.H. Pray of the Boston Fusiliers (1796) 和 Dead Man Restored to Life by Touching the Bones of the Prophet Elisha (1811)。
20岁：Self-Portrait创作于1799年，華盛頓·奧爾斯頓出生于1779年。
Self-Portrait, Portrait of Captain A.H. Pray of the Boston Fusiliers, Dead Man Restored to Life by Touching the Bones of the Prophet Elisha, The Poor Author and the Rich Bookseller, William Ellery Channing, Self Portrait, Katharina and Petruchio (Scene from Shakespeare's "The Taming of the Shrew"), Petruchio attacks the Tailor in Act III, scene IV of The Taming of the Shrew, First study for "Christ Healing the Sick" 及 Samuel Taylor Coleridge (1772-1834)。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 68 件 華盛頓·奧爾斯頓 的作品，创作年代从 1796 年至 1835 年。
多见于 波士顿美术馆 (波士顿), 哈佛艺术博物馆 (剑桥) 及 底特律艺术学院 (底特律)。上方的博物馆列表列出了所有相关机构。
在 1810s 期间：本页 68 件作品中有 22 件创作于该时期，其中包含 Dead Man Restored to Life by Touching the Bones of the Prophet Elisha 件作品。
在本页面中，最早的作品创作于 Portrait of Captain A.H. Pray of the Boston Fusiliers (1796)，最晚的创作于 Ideal Head (1835)。
Man (16), Woman (9) 及 Portrait (8)，共计 68 件作品。
Oil On Canvas，共计 18 件（本页共有 68 件作品）。
根据本页面的原作，Romantic landscape painting
The Poor Author and the Rich Bookseller, William Ellery Channing 及 Self Portrait：波士顿美术馆, 波士顿收藏了本页中 14 件作品。
