Nejslavnějším dílem umělce David Griffiths je obraz Professor Cedric Prys Roberts, President of the Royal College of Anaesthetists (1994–1997) (1997) v muzeu Royal College of Anaesthetists v London. Díky Joe Calzaghe (b.1972) (2008) a Paul Brewer (b.1946), Photographer (1995) tvoří celek tří děl, která každý rozpozná. Náš katalog obsahuje 37 děl umělce David Griffiths; níže je 37 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.
The Siân Phillips (b.1933) painting by David Griffiths is a masterpiece that showcases the artist's skill in capturing the essence of his subject. Created in 1995, this oil on canvas piece measures 119 x 93 cm and is currently housed at the Llyfrgell Genedlaethol Cymru / The National Library of Wales in Aberystwyth, United Kingdom. The Artist's Inspiration David Griffiths is a renowned artist known for his portraits of notable…
The John Meurig Thomas (b.1932) painting by David Griffiths is a captivating piece that showcases the artist's skill in capturing the essence of his subject. Created in 1996,…
The Peter Prendergast (1946–2007) painting by David Griffiths is a remarkable piece of art that showcases the artist's skill in capturing the essence of his subject. Created in…
The Self Portrait by David Griffiths, created in 1997, is a captivating oil on canvas piece that invites viewers to delve into the artist's inner world. Measuring 100…
Čtyři témata, která se v těchto dílech objevují nejčastěji, spolu s nejlepším příkladem každého z nich.
4 muzea, v nichž je umístěno nejvíce obrazů z této stránky.
| Muzeum | Město | Díla autora David Griffiths | Obrazy z tohoto seznamu |
|---|---|---|---|
 Llyfrgell Genedlaethol Cymru / The National Library of Wales |
Aberystwyth | 19 | Joe Calzaghe (b.1972), Paul Brewer (b.1946), Photographer, Siân Phillips (b.1933) |
 Royal College of Anaesthetists |
London | 2 | Professor Cedric Prys Roberts, President of the Royal College of Anaesthetists (1994–1997), The First Board of the Royal College of Anaesthetists Faculty |
 Bangor University |
Bangor | 2 | Lord Cledwyn II (second version), Professor R. Merfyn Jones, Vice Chancellor (2004–2009) |
 National Library of Wales |
Aberystwyth | 1 | Shane Williams |
Professor Cedric Prys Roberts, President of the Royal College of Anaesthetists (1994–1997) (1997), Royal College of Anaesthetists, London. Následují Joe Calzaghe (b.1972) (2008) a Paul Brewer (b.1946), Photographer (1995).
58 let: dílo Professor Cedric Prys Roberts, President of the Royal College of Anaesthetists (1994–1997) pochází z roku 1997 a David Griffiths se narodil/a v roce 1939.
Professor Cedric Prys Roberts, President of the Royal College of Anaesthetists (1994–1997), Joe Calzaghe (b.1972), Paul Brewer (b.1946), Photographer, Lord Callaghan (1912–2005), Shane Williams, Kyffin Williams (1918–2006), Sir Geraint Evans (1922–1992), C. W. L. Bevan, Professor Michael Harmer a Siân Phillips (b.1933). Výše uvedené pořadí uvádí rok a muzeum každého díla.
Náš katalog obsahuje 37 děl autora David Griffiths z let 1993 až 2012.
Většina z nich se nachází v Llyfrgell Genedlaethol Cymru / The National Library of Wales (Aberystwyth), Royal College of Anaesthetists (London) a Bangor University (Bangor). V tabulce výše jsou jednotlivé muzea uvedeny postupně.
V období 1990s: 14 z 37 děl na této stránce pochází z tohoto období, z nich Professor Cedric Prys Roberts, President of the Royal College of Anaesthetists (1994–1997).
Nejstarší dílo na této stránce pochází z John Kyffin Williams (1918–2006) (1993), nejnovější z Shane Williams (2012).
Portrait (5), Welsh art (4) a Portraiture (3), z celkových 37 děl na této stránce.
Contemporary realism, jak dokazují obrazy na této stránce.
Joe Calzaghe (b.1972), Paul Brewer (b.1946), Photographer a Siân Phillips (b.1933) patří mezi 19 děl na této stránce, která má v zastarání Llyfrgell Genedlaethol Cymru / The National Library of Wales, Aberystwyth.
In the grand tapestry of British portraiture, few names evoke the same sense of dignified precision and soulful observation as David Griffiths. Born in Liverpool in 1939 and deeply shaped by the rugged beauty of North Wales, Griffiths emerged as a painter capable of bridging the gap between formal academic tradition and a modern, expressive sensitivity. His journey into the heart of the human countenance began with a profound artistic inheritance; he was the grandson of a portrait painter whose work once graced the Walker Art Gallery, a lineage that instilled in him a reverence for the craft from his earliest years. This ancestral connection to the portraitist's easel provided more than just inspiration—it offered a foundational understanding of how a single brushstroke can immortalize a moment in history.
The refinement of his technique was forged within the prestigious halls of the Slade School of Fine Art, where he studied under some of the most formidable minds of the twentieth century, including Sir William Coldstream, Sir Ernst Gombrich, and Sir Anthony Blunt. Under their rigorous guidance, Griffiths mastered the complexities of anatomical accuracy and the subtle interplay of light and shadow. Yet, while his training was rooted in the disciplined methods of academic realism, his spirit remained tethered to the romanticism of the natural world. His early explorations into landscape painting, influenced by the atmospheric traditions of artists like David Cox the Elder, infused his later portraiture with a unique luminosity, allowing him to treat skin, fabric, and setting with an almost elemental vitality.
Griffiths’ career reached a transformative zenith in 1970, a year marked by his celebrated portrait of Prince Charles. This commission did more than merely elevate his professional standing; it propelled him into the upper echelons of British society, establishing him as a preferred chronicler of the nation's most significant figures. His ability to navigate the delicate balance between formal reverence and psychological depth allowed him to capture subjects not merely as icons of power, but as living, breathing individuals. His oeuvre serves as a visual record of an era, featuring a distinguished roster of subjects including:
Beyond the grand scale of royal commissions, Griffiths possessed a versatile wit that occasionally surfaced in his more ephemeral works. In the late 1960s, he contributed a series of humorous cartoons for BBC Wales television productions, such as Heddiw and Disc a Dawn. These rare pieces, now preserved by the National Library of Wales, reveal an artist who could find levity in the mundane, using illustration to provide context to weather reports and music programs alike. This duality—the ability to move from the solemnity of a monarch's portrait to the playful charm of a broadcast cartoon—demonstrates a remarkable breadth of creative intellect.
The significance of David Griffiths extends far beyond the frames of his finished canvases. As a painter, teacher, and the founder of the Albany Gallery in Cardiff, he has been a vital architect of the Welsh art scene. His commitment to fostering talent and providing a platform for both established and emerging Welsh artists has left an indelible mark on the cultural landscape of his homeland. Through his gallery, he helped cultivate a space where the traditions of the past could meet the innovations of the present, ensuring that the lineage of Welsh painting remained vibrant and continuous.
Today, the work of Griffiths stands as a testament to the enduring power of the portrait. His paintings are more than mere likenesses; they are studies in character, light, and the fleeting essence of human identity. Whether through his masterful oil compositions or his rediscovered satirical sketches, he remains a visionary who captured the dignity of his subjects with an unmatched, quiet conviction. His legacy is woven into the very fabric of British art history, reminding us that true portraiture is not just about seeing a face, but about understanding the soul behind it.
