Nejslavnějším dílem umělce Frederick Smallfield je obraz Good Housewife (1856) v muzeu Auckland Art Gallery Toi o Tāmaki v Auckland. Náš katalog obsahuje 1 děl umělce Frederick Smallfield; níže je 1 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 Smallfield | Obrazy z tohoto seznamu |
|---|---|---|---|
 Auckland Art Gallery Toi o Tāmaki |
Auckland | 1 | Good Housewife |
Všechna díla umělce Frederick Smallfield s uvedeným datem na této stránce pocházejí z roku 1856: zde jsou jejich nejznámější.
Good Housewife (1856)
27 let: dílo Good Housewife pochází z roku 1856 a Frederick Smallfield se narodil/a v roce 1829.
Náš katalog obsahuje 1 děl autora Frederick Smallfield.
Většina z nich se nachází v Auckland Art Gallery Toi o Tāmaki (Auckland). V tabulce výše jsou jednotlivé muzea uvedeny postupně.
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 Smallfield was born on 16 October 1829 in the London Borough of Hackney. He grew up in an environment where the visual arts were a shared language. His siblings, Philip and Beatrice Smallfield, also became artists who exhibited their work. This family connection suggests a household shaped by the practicalities of making and showing art.
In the late 1840s, Frederick Smallfield entered the Royal Academy Schools to begin his formal training. He spent those years learning the foundations of his craft, focusing on oils and watercolour. His time at the Academy placed him in the same circles as various members of the Pre-Raphaelite Brotherhood, though he maintained his own path. He worked with the steady hand required for both the broad strokes of oil and the fine detail of watercolour.
The family's artistic lineage continued into the next generation. His daughter, Rosalind Charlotte Smallfield, was born in 1869. She eventually showed her own work at the Royal Academy and the Society of Women Artists, likely having received some tuition from her father. The Smallfield name remained tied to the exhibition halls of Britain for decades.
Smallfield worked across several mediums, moving between the heavy application of oils and the delicate precision of watercolour. His hand was equally steady when working in etching, producing detailed plates for various publications. He had a particular affinity for figure subjects, focusing his attention on the human form and the way it occupied a space. This interest in the human figure often carried a Pre-Raphaelite influence, visible in the way he handled detail and composition.
In his watercolours, there is a clarity that earned him recognition, leading to his election as an Associate of the Watercolour Society in 1860. His approach to etching allowed him to translate complex scenes into fine lines, often used to illustrate poetry or social themes. Whether working on a large canvas or a small piece of cardboard, he maintained a focus on the specificities of his subjects, from the textures of clothing to the quiet gestures of his figures.
His presence in the London art scene was marked by a steady involvement with the Royal Academy. Between 1849 and 1886, he sent works to be exhibited there, including oil paintings that continued to appear in their galleries until the late 1870s. In 1860, he was elected an Associate of the Watercolour Society, a recognition that followed years of developing his skill in the medium. By 1858, his watercolours had caught the attention of influential critics, earning specific praise in the Academy Notes.
Beyond the gallery walls, his hand appeared in several significant publishing projects. He provided illustrations for the 1862 publication Passages From Modern English Poets, contributing pieces such as The Shoeblack and A Christmas Invitation. His work also extended to documenting the industrial era, having contributed an illustration to The Industrial Arts of the Nineteenth Century at the Great Exhibition MDCCCLI.
Smallfield's paintings and drawings have found their way into several permanent collections. The Royal Institution of Cornwall holds his 1887 work, The Ringers of Launcells Tower. His 1857 painting, Early Lovers, is part of the Manchester City Galleries, while The Lost Glove, painted in 1858, is kept at the Atkinson Art Gallery at Southport. Some of his drawings are also held by the Victoria and Albert Museum.
His output includes various subjects and mediums. He produced an oil on cardboard titled A Country Lass, which dates to 1915 or before. His work in other formats, such as etchings, appeared in publications like Passages From Modern English Poets in 1862. These pieces, including Winter Revels and Supping on Horrors, were part of the Junior Etching Club's illustrated editions.