Abraham Daniel's mest berømte maleri er Portrait of a Man Dressed in Blue (1795) i Musée Cognacq-Jay, Paris. Sammen med Portrait of a Gentleman og Okänd dam udgør de de tre værker, som alle kender. Vores katalog indeholder 4 værker af Abraham Daniel; de 4 nedenfor er dem, som verden ser mest på, hver med årstal, det museum der opbevarer det, og hvorfor det er betydningsfuldt.
Rangordnet efter vores popularitetsscore, som kombinerer søgninger, besøg og ordrer for hvert værk. Opdateret november 2026. Hvert mesterværk på denne side kan bestilles som en håndmalet oliereproduktion i museumskvalitet eller som et kunsttryk i den størrelse, du vælger.
An elderly gentleman gazes out from an intimate oval space, his presence felt through a quiet, dignified stillness. He sits in a three-quarter view, his features emerging from a dark, indistinct background that pushes his face into the light. A soft, white powdered wig catches the glow, framing a countenance marked by wisdom and a calm, steady expression. The light falls gently across his skin, creating a subtle chiaroscuro that…
De 3 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Abraham Daniel | Malerier fra denne liste |
|---|---|---|---|
 Yale Center for British Art |
New Haven | 2 | Portrait of a Gentleman, Portrait of a Gentleman |
 Musée Cognacq-Jay |
Paris | 1 | Portrait of a Man Dressed in Blue |
 Nationalmuseum |
Stockholm | 1 | Okänd dam |
Alle Abraham Daniel's daterede værker på denne side er fra 1795: her er de mest berømte af dem.
Portrait of a Man Dressed in Blue (1795), Musée Cognacq-Jay, Paris. Derefter følger Portrait of a Gentleman og Okänd dam.
Vores katalog indeholder 4 værker af Abraham Daniel.
De fleste af dem findes i Yale Center for British Art (New Haven), Musée Cognacq-Jay (Paris) og Nationalmuseum (Stockholm). Tabellen ovenfor lister museerne enkeltvis.
Portrait of a Gentleman og Portrait of a Gentleman er blandt de 2 værker på denne side, som er i Yale Center for British Art, New Haven's samling.
Ja. Hvert maleri på denne side kan bestilles som en håndmalet oliereproduktion i museums kvalitet eller som et kunstprint i den størrelse, du ønsker, direkte fra maleriets egen side.
In the small, busy workshops of Bath, Abraham Daniel worked with a focus that required a steady hand and a keen eye for the minute. He was a man of many crafts, moving between the roles of engraver, jeweler, and miniaturist. His life was shaped by the delicate tools of his trade, the kind of work that demands a person sit close to a subject, observing the subtle shifts in light on a face or the texture of a garment. He was part of a family of makers, learning the intricacies of miniature painting from his mother, a skill that would define his professional identity.
His presence in the local art scene was marked by a specific professional label. He and his brother Joseph both operated under the name "Mr. Daniel of Bath," a shared identity that saw them competing for the same commissions. This competition likely sharpened the precision of his work, as each brother sought to capture the likeness of his sitters with a clarity that could be held in the palm of a hand. His work was not about large, sweeping gestures, but about the small, intimate details that define a person's character in a tiny, private space.
The technical demands of his various occupations required a versatility that few could maintain. To work as both a jeweler and a miniaturist is to understand the weight of metal and the fragility of pigment. His skill set included:
His output was often quiet and unsigned, a common trait for those who focused more on the craft than the fame. Yet, his hand is identifiable in the way he handled light and shadow in his portraits. In a portrait of a man dressed in blue, the color is not merely a hue but a presence, rendered with a carefulness that respects the material it represents. Even in his less certain works, like the portrait of a gentleman or the depiction of an unknown lady, there is a sense of a man who understood how to translate a human presence into a compact, lasting form.
Abraham Daniel died in 1806, leaving behind a body of work that resides in collections from Paris to Stockholm. These pieces, though small, have traveled far from the workshops of Bath. His ability to capture a likeness—seen in works like the portrait of a young girl—ensured that his technical skill survived long after his tools were set aside. He remains a figure of the British Jewish community of his time, a maker whose life was measured in the fine lines of an engraving and the soft strokes of a miniature brush.