Nejslavnějším dílem umělce Peter Cross je obraz Colonel James Griffin, Aged 15 (1682) v muzeu Yale Center for British Art v New Haven. Náš katalog obsahuje 2 děl umělce Peter Cross; 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.
2 muzea, v nichž je umístěno nejvíce obrazů z této stránky.
| Muzeum | Město | Díla autora Peter Cross | Obrazy z tohoto seznamu |
|---|---|---|---|
 Yale Center for British Art |
New Haven | 1 | Colonel James Griffin, Aged 15 |
 Nationalmuseum |
Stockholm | 1 | Porträtt av man i allongeperuk med röd mantel |
19 let tvorby umělce Peter Cross, od 1682 do 1700, rok po roce: nejznámější obrazy každého roku v chronologickém pořadí.
Colonel James Griffin, Aged 15 (1682)
37 let: dílo Colonel James Griffin, Aged 15 pochází z roku 1682 a Peter Cross se narodil/a v roce 1645.
Náš katalog obsahuje 2 děl autora Peter Cross z let 1682 až 1700.
Většina z nich se nachází v Yale Center for British Art (New Haven) a Nationalmuseum (Stockholm). V tabulce výše jsou jednotlivé muzea uvedeny postupně.
Nejstarší dílo na této stránce pochází z Colonel James Griffin, Aged 15 (1682), nejnovější z Porträtt av man i allongeperuk med röd mantel (1700).
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 delicate, intimate world of seventeenth-century portraiture, few names evoke as much quiet fascination as Peter Cross. A master of the miniature, Cross operated during a transformative era in English art, navigating the complex social landscapes of the late Stuart period. Though his life remains partially veiled by the mists of history, documentary evidence suggests he was born around 1645, likely to parents of French extraction. His family, led by Anthony Cross, resided in the bustling heart of London, near Lombard Street, providing him with a foundation of stability and access to the vibrant artistic currents flowing through the capital. As a limner, Cross possessed the rare ability to capture the very essence of a sitter within a tiny, jewel-like frame, creating works that were as much precious objects as they were portraits.
The artistry of Peter Cross was deeply rooted in the traditions of his predecessors, most notably the legendary Samuel Cooper. It is widely believed by historians that Cross may have trained under Cooper, and this influence is unmistakable in the precision and grace of his execution. He was a careful imitator of the great masters, yet he possessed a distinctive touch that allowed him to command the attention of the highest eppers of society. His skill was such that during the reign of Queen Anne, he became an extensively employed miniaturist for both royalty and the nobility. His work found its way into the most prestigious collections in the world, including the Royal Collection at Windsor, ensuring that his delicate hand would be preserved for centuries to come.
One of the most intriguing aspects of Cross’s career is the historical confusion surrounding his very identity. For many years, art historians were divided, believing that two separate artists—Peter and Laurence Cross—were responsible for a variety of miniatures. This scholarly error stemmed from his unique method of signing his work; he utilized an interlaced monogram in gold paint that could easily be misread as "LC" instead of "PC." It was not until the twentieth century that researchers successfully untangled this knot, confirming that these exquisite works all belonged to a single, masterful hand. This revelation brought much-needed clarity to his oeuvre, allowing his true brilliance to shine without the shadow of mistaken attribution.
Beyond mere technical proficiency, Cross’s work often touched upon the boundaries of reality and idealization. A famous, albeit controversial, anecdote tells of a commission to repair a portrait of Mary, Queen of Scots. Tasked with making the figure appear more beautiful, Cross allegedly renovated the features of the original painting so effectively that he created an entirely erroneous type of her likeness. While such an act might be viewed as a breach of historical accuracy today, in the context of the seventeenth century, it demonstrated his profound ability to manipulate medium and light to achieve a desired aesthetic perfection. His life, marked by both personal devotion—evidenced by his marriage to Arabella Burman and his large family—and professional triumph, remains a testament to the enduring power of the miniature portrait.
The significance of Peter Cross lies not only in the beauty of his miniatures but in his role as a bridge between the era of Cooper and the evolving tastes of the English aristocracy. His achievements include: