Nejslavnějším dílem umělce Frederick Buck je obraz Young officer in a Red Tunic v muzeu Yale Center for British Art v New Haven. Náš katalog obsahuje 2 děl umělce Frederick Buck; níže je 2 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.
Muzeum s největším počtem obrazů na této stránce.
| Muzeum | Město | Díla autora Frederick Buck | Obrazy z tohoto seznamu |
|---|---|---|---|
 Yale Center for British Art |
New Haven | 2 | Young officer in a Red Tunic, English Officer in a Scarlet Jacket |
Young officer in a Red Tunic
Náš katalog obsahuje 2 děl autora Frederick Buck.
Většina z nich se nachází v Yale Center for British Art (New Haven). V tabulce výše jsou jednotlivé muzea uvedeny postupně.
Young officer in a Red Tunic a English Officer in a Scarlet Jacket 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.
Frederick Buck lived through the shifting tides of the late 18th and early 19th centuries. Born in Cork, Ireland, in 1771, he spent his working life focused on the small, intimate scale of the miniature portrait. While other artists sought larger canvases, Buck worked within the narrow margins of ivory, creating likenesses that people could hold in their hands or wear close to their hearts.
His career was tied closely to the movements of the time. As soldiers and officers passed through the port of Cork on their way to the Continent during the Napoleonic Wars, Buck found himself busy with a steady stream of commissions. He became a fixture in the local art scene, providing the Anglo-Irish gentry and military men with small, portable keepsakes of their loved ones or themselves. These tiny objects often found their way into lockets, brooches, or small frames, serving as quiet witnesses to the lives of those passing through Ireland.
His output was significant enough to allow him a comfortable retirement before his death around 1840. He left behind a body of work that captures the faces and fashions of a specific era, preserved in private collections and various institutions. His presence in Cork was felt through these small, detailed studies of character and uniform, marking him as a specialist in a demanding and precise medium.
Born in 1771 in Cork, Ireland, Frederick Buck grew up in a household where art was a shared language. He was the younger brother of Adam Buck, who would eventually move to London. While his brother sought a different path, Frederick’s focus remained on the precise, small-scale world of portraiture. His early years were shaped by the disciplined environment of formal instruction in Dublin.
In 1783, he was admitted as a pupil to the Royal Dublin Society’s drawing school. This period of study provided the technical foundation necessary for the meticulous work he would later undertake. He spent these formative years learning the mechanics of line and form, preparing for a life spent working on a miniature scale. By around 1787, he had moved beyond the classroom and began his active career as a painter.
Frederick Buck established a long-standing presence in Cork, working as a miniature painter for many years. His movements through the city reflect a settled professional life. By 1787, he was residing at Fen's Quay. A few years later, in 1795, his residence moved to Mardyke Street. As his career progressed, he relocated to George's Quay in 1810, eventually settling in Buckingham Square.
The city's status as a busy port during the Napoleonic Wars brought a steady stream of customers to his door. As troops gathered in Cork before embarking for the Peninsular War, many sought portraits to carry with them. To meet this demand, Buck often kept a supply of partly-painted ivories. He would add the heads and regimental facings to these pieces once his customers provided hurried sittings, allowing him to keep pace with the soldiers traveling through the port.
The demand for Buck's miniatures often came from the Anglo-Irish gentry, who sought small, personal likenesses of their families and peers. His studio in Cork became a frequent stop for those moving through the city, particularly during the Napoleonic Wars. He found a steady stream of work from military officers stationed in Ireland, many of whom required portraits to carry with them as they prepared for deployment.
During the Peninsular War, the pace of his work increased. As Cork served as a busy port of embarkation for troops heading to the Continent, Buck dealt with a high volume of orders from officers departing for the seat of war. To keep up with the hurried sittings of these soldiers, he often kept a supply of partly-painted ivories on hand. He would wait for the moment a customer arrived to add the specific details of the head and the regimental facings, ensuring the likeness was ready for their journey.
Buck worked primarily with watercolor on ivory, a medium that allowed for a specific kind of precision. He focused heavily on the nuances of facial expression, using the small scale to settle into the details of a sitter's features. His brushwork aimed to capture a sense of personality within these tight constraints, often rendering the fine textures of hair and the specific folds of period attire. He had a way of handling the soft color palettes required for such intimate portraits, ensuring the likeness remained clear despite the miniature format.
The physical nature of his work was often dictated by how the portraits were intended to be kept. Many of his pieces were oval in shape, designed to be tucked away in lockets, brooches, or small frames. This small scale required a meticulous hand to manage the delicate details of the subject's clothing and the subtle shifts in light across the face. Because his work was often commissioned by soldiers and travelers, he sometimes kept a supply of partly-painted ivories ready, adding specific regimental facings or facial details only when a sitter was available for a quick sitting.
By the later stages of his life, Buck had achieved a level of professional success that allowed him to step away from the constant demands of his trade. He was able to retire some years before his life came to an end, leaving behind a body of work that had been shaped by the shifting needs of the Cork community. Even in these later years, his hand remained active, and he continued to paint miniatures until the very end.
He remained in Cork, the city where his career had been so deeply rooted. His work from this period reflects a life spent observing the faces of those around him, from the officers of the Peninsular War to the local gentry. He passed away in Cork about 1839 or 1840.