Nejslavnějším dílem umělce Abraham Daniel je obraz Portrait of a Man Dressed in Blue (1795) v muzeu Musée Cognacq-Jay v Paříž. Díky Portrait of a Gentleman a Okänd dam tvoří celek tří děl, která každý rozpozná. Náš katalog obsahuje 4 děl umělce Abraham Daniel; níže je 4 děl, na která se svět dívá nejčastěji, každé s uvedeným rokem vzniku, muzeem, které jej uchovává, a důvodem jeho významu.
Seřazeno podle našeho skóre popularity, které kombinuje počet vyhledávání, návštěv a objednávek u každého díla. Aktualizováno listopad 2026. Každé dílo na této stránce lze objednat jako ručně malovanou olejovou reprodukci v muzeální kvalitě nebo jako umělecký tisk v požadovaném rozměru.
An elderly gentleman gazes out from an intimate oval space, his presence felt through a quiet, dignified stillness. He sits in a three-quarter view, his features emerging from a dark, indistinct background that pushes his face into the light. A soft, white powdered wig catches the glow, framing a countenance marked by wisdom and a calm, steady expression. The light falls gently across his skin, creating a subtle chiaroscuro that…
3 muzea, v nichž je umístěno nejvíce obrazů z této stránky.
| Muzeum | Město | Díla autora Abraham Daniel | Obrazy z tohoto seznamu |
|---|---|---|---|
 Yale Center for British Art |
New Haven | 2 | Portrait of a Gentleman, Portrait of a Gentleman |
 Musée Cognacq-Jay |
Paříž | 1 | Portrait of a Man Dressed in Blue |
 Nationalmuseum |
Stockholm | 1 | Okänd dam |
Všechna díla umělce Abraham Daniel s uvedeným datem na této stránce pocházejí z roku 1795: zde jsou jejich nejznámější.
Portrait of a Man Dressed in Blue (1795), Musée Cognacq-Jay, Paříž. Následují Portrait of a Gentleman a Okänd dam.
Náš katalog obsahuje 4 děl autora Abraham Daniel.
Většina z nich se nachází v Yale Center for British Art (New Haven), Musée Cognacq-Jay (Paříž) a Nationalmuseum (Stockholm). V tabulce výše jsou jednotlivé muzea uvedeny postupně.
Portrait of a Gentleman a Portrait of a Gentleman patří mezi 2 děl na této stránce, která má v zastarání Yale Center for British Art, New Haven.
Ano. Každý obraz na této stránce lze objednat jako ručně malovanou olejovou reprodukci v muzeální kvalitě nebo jako umělecký tisk v požadovaném rozměru přímo z jeho vlastní stránky.
In the small, busy workshops of Bath, Abraham Daniel worked with a focus that required a steady hand and a keen eye for the minute. He was a man of many crafts, moving between the roles of engraver, jeweler, and miniaturist. His life was shaped by the delicate tools of his trade, the kind of work that demands a person sit close to a subject, observing the subtle shifts in light on a face or the texture of a garment. He was part of a family of makers, learning the intricacies of miniature painting from his mother, a skill that would define his professional identity.
His presence in the local art scene was marked by a specific professional label. He and his brother Joseph both operated under the name "Mr. Daniel of Bath," a shared identity that saw them competing for the same commissions. This competition likely sharpened the precision of his work, as each brother sought to capture the likeness of his sitters with a clarity that could be held in the palm of a hand. His work was not about large, sweeping gestures, but about the small, intimate details that define a person's character in a tiny, private space.
The technical demands of his various occupations required a versatility that few could maintain. To work as both a jeweler and a miniaturist is to understand the weight of metal and the fragility of pigment. His skill set included:
His output was often quiet and unsigned, a common trait for those who focused more on the craft than the fame. Yet, his hand is identifiable in the way he handled light and shadow in his portraits. In a portrait of a man dressed in blue, the color is not merely a hue but a presence, rendered with a carefulness that respects the material it represents. Even in his less certain works, like the portrait of a gentleman or the depiction of an unknown lady, there is a sense of a man who understood how to translate a human presence into a compact, lasting form.
Abraham Daniel died in 1806, leaving behind a body of work that resides in collections from Paris to Stockholm. These pieces, though small, have traveled far from the workshops of Bath. His ability to capture a likeness—seen in works like the portrait of a young girl—ensured that his technical skill survived long after his tools were set aside. He remains a figure of the British Jewish community of his time, a maker whose life was measured in the fine lines of an engraving and the soft strokes of a miniature brush.