Nejslavnějším dílem umělce John Wollaston je obraz Alderman David Wharam, Mayor of Rochester (1744) (1740) v muzeu Guildhall Museum v Rochester. Díky Captain Jacob Elton (1712–1745), RN (1741) a Ryland Randolph (1756) tvoří celek tří děl, která každý rozpozná. Náš katalog obsahuje 32 děl umělce John Wollaston; níže je 32 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 říjen 2026. Každé dílo na této stránce lze objednat jako ručně malovanou olejovou reprodukci v muzeální kvalitě nebo jako umělecký tisk v požadovaném rozměru.
The subject is presented in a formal, centered composition, gazing directly at the viewer from a dark, indeterminate background. He wears a red coat accented with white trim, a garment that signals both status and official capacity. A black hat and a white shirt complete the attire of a gentleman of the mid-eighteenth century. His long hair and beard frame a face marked by age, suggesting a life of experience…
The year is 1756, and the air in the room feels heavy with the quiet dignity of a bygone era. Ryland Randolph sits in a poised profile, his gaze directed outward with a serious, contemplative expression that demands immediate respect. He exists in a moment of stillness, a man of high-ranking status and military prestige caught in a permanent state of readiness. His midnight blue coat, deep and commanding, catches…
The gaze of Joseph Reade meets yours with an unwavering clarity, pulling you into a moment frozen in 1749. He sits with a quiet authority, his posture upright and composed, as if the weight of his political and social responsibilities in New York City rests lightly upon his shoulders. A deep crimson velvet backdrop wraps around him, its heavy texture providing a dark, dramatic stage that pushes his figure forward…
The portrait presents a man in formal military attire, his posture commanding and his arms outstretched to claim the space. He is positioned centrally, dominating the frame against a backdrop of soft foliage and a heavy, clouded sky. The lighting is deliberate, casting strong highlights across his face and upper body to define the sharp contours of his features. Every detail of his presence is rendered with meticulous precision, from…
It is presumed that John Wollaston was the son of the noted London portraitist John Wollaston. He was likely trained by his father, though it has also been…
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Wollaston’s arrival in New York from London in 1749 introduced to the colonies a new style of portraiture characterized by rich, brightly colored fabrics and sprightly, informal poses.…
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William Harvey (1578–1657) – A Pioneer of Scientific Portraiture John Wollaston’s depiction of William Harvey stands as a pivotal moment in the burgeoning artistic landscape of colonial America,…
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John Wollaston (1672–1749) - Pioneer of Rococo in America John Wollaston stands as a singular figure in the annals of American art history—a British painter who irrevocably shaped…
Pořiďte si ho domů →Čtyři témata, která se v těchto dílech objevují nejčastěji, spolu s nejlepším příkladem každého z nich.
8 muzea, v nichž je umístěno nejvíce obrazů z této stránky.
| Muzea | Město | Díla autora John Wollaston | Obrazy z tohoto seznamu |
|---|---|---|---|
 Bodleianské knihovny |
Oxford | 7 | Sir Theodore Turquet de Mayerne (1573–1655), Walter Charleton (1619–1707), Thomas Willis (1621–1675) |
 Metropolitan Museum of Art |
New York | 5 | Mrs. Cadwallader Colden, Joseph Reade, Cadwallader Colden |
 National Gallery of Art |
Washington | 4 | John Stevens (?), A Gentleman of the Morris Family, Mary Walton Morris |
 National Portrait Gallery |
Londýn | 2 | Thomas Britton, George Whitefield |
 Guildhall Museum |
Rochester | 1 | Alderman David Wharam, Mayor of Rochester (1744) |
 National Trust |
Clevedon | 1 | Captain Jacob Elton (1712–1745), RN |
 Wilton House Museum |
Richmond | 1 | Ryland Randolph |
 Smithsonian American Art Museum |
Washington, D.C. | 1 | Portrait of Lucy Parry, Wife of Admiral Parry |
16 let tvorby umělce John Wollaston, od 1752 do 1767, rok po roce: nejznámější obrazy každého roku v chronologickém pořadí.
The year is 1756, and the air in the room feels heavy with the quiet dignity of a bygone era. Ryland Randolph sits in a poised profile, his…
It is presumed that John Wollaston was the son of the noted London portraitist John Wollaston. He was likely trained by his father, though it has also been…
Alderman David Wharam, Mayor of Rochester (1744) (1740), Guildhall Museum, Rochester. Následují Captain Jacob Elton (1712–1745), RN (1741) a Ryland Randolph (1756).
Alderman David Wharam, Mayor of Rochester (1744), Captain Jacob Elton (1712–1745), RN, Ryland Randolph, Mrs. Cadwallader Colden, John Stevens (?), Joseph Reade, A Gentleman of the Morris Family, Portrait of Lucy Parry, Wife of Admiral Parry, Joseph Reade a Portrait of General Staats Long Morris. Výše uvedené pořadí uvádí rok a muzeum každého díla.
Náš katalog obsahuje 32 děl autora John Wollaston z let 1752 až 1767.
Většina z nich se nachází v Bodleianské knihovny (Oxford), Metropolitan Museum of Art (New York) a National Gallery of Art (Washington). V tabulce výše jsou jednotlivé muzea uvedeny postupně.
V období 1752: 4 z 32 děl na této stránce pochází z tohoto období, z nich John Stevens (?).
Nejstarší dílo na této stránce pochází z John Stevens (?) (1752), nejnovější z Judith Smith (Mrs. James Ladson) (1767).
Portraiture (7), Portrait (6) a 18th century (6), z celkových 32 děl na této stránce.
Oil On Canvas: 3 z 32 děl na této stránce.
Rococo, jak dokazují obrazy na této stránce.
Sir Theodore Turquet de Mayerne (1573–1655), Walter Charleton (1619–1707) a Thomas Willis (1621–1675) patří mezi 7 děl na této stránce, která má v zastarání Bodleianské knihovny, Oxford.
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 mid-eighteenth century, as the American colonies began to stir with a burgeoning sense of identity, a sophisticated breeze from London arrived on their shores, carried by the brush of John Wollaston. A painter of profound grace and technical finesse, Wollaston stands as a singular figure in the annals of American art history—a British master who irrevocably shaped the aesthetic landscape of the colonies. While later giants like Benjamin West and Gilbert Stuart would command the spotlight of American portraiture, Wollaston’s true contribution lies in his role as a pioneer, introducing the delicate elegance and shimmering sophistication of the Rococo style to North America. He was more than a mere chronicler of faces; he was an ambassador of European refinement, marking one of the first instances where a truly continental artistic movement flourished across the Atlantic.
The early life of Wollaston remains shrouded in the soft mists of history, leaving much to the imagination of scholars. Born in London, he was likely the scion of a painter, though the records of his lineage are famously contested. Some accounts identify his father as John Wollaston, while others, drawing from the witty anecdotes of Horace Walpole, suggest the name was originally Woolston—a change made to mirror the era's aristocratic trend of adopting more prestigious titles. While his formal training is not documented in detail, the evidence of his skill is undeniable. The letters of Charles Willson Peale hint that Wollaston studied the intricate art of drapery with a London master, a specialty that would become his hallmark. Whether he was mentored by his father or influenced by the celebrated drapery painter Joseph van Aken, Wollaston emerged with a command over fabric and light that mirrored the finest talents of the British Rococo tradition.
Wollaston’s artistic identity was deeply rooted in the English Rococo, a style characterized by its lightness, grace, and an almost tactile obsession with texture. His work bears an unmistakable resemblance to the portraits of Thomas Hudson and Allan Ramsay, capturing not just the likeness of his subjects but the very essence of their social standing. He possessed a remarkable ability to render the heavy sheen of silk, the delicate lace of a collar, and the complex folds of velvet, creating a visual language of luxury that captivated the colonial elite. This mastery of drapery was not merely decorative; it served to imbue his subjects with a sense of movement and vitality, making the static medium of portraiture feel alive and breathing.
His journey across the Atlantic in 1749 marked a transformative chapter for both the artist and the colonies. Settling initially in New York City, Wollaston began a nomadic period of intense creativity, traveling along the Atlantic seaboard to bring the latest London fashions to American patrons. His presence fostered a burgeoning artistic dialogue between Britain and its colonies, establishing a precedent for stylistic experimentation that would resonate through subsequent generations. Despite his travels, Wollaston remained profoundly connected to his English roots. This steadfast identity is poignantly captured in the inscription on the back of his portrait of William Smith, Jr., where he identified himself as "Johnannes Wollaston Londoniensis," a proud declaration of his London origins amidst the American wilderness.
Though his life was tragically short, ending in 1775, the impact of John Wollaston’s career remains etched in the history of early American art. He provided the colonial upper class with a visual mirror that reflected their aspirations toward European sophistication. His ability to translate the high fashion of London into the colonial context allowed for a shared cultural vocabulary between the Old and New Worlds. The following elements define his enduring historical footprint:
Today, when we look upon the works attributed to Wollaston, we see more than just portraits of the colonial past; we see the arrival of an era of elegance. His brush captured a moment in time when the colonies were beginning to dream of grandeur, and through his art, that dream was rendered in silk, lace, and light.
