Maleriet, der gjorde John Lambert berømt, er Sketch of an Unidentified Man; det hænger på Pennsylvania Academy of Fine Arts i Philadelphia. Af de 1 værker af John Lambert i vores katalog er disse 1 de mest beundrede, hver præsenteret med sit årstal, sit museum og det, der gør værket unikt.
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.
Det museum, der rummer flest af malerierne på denne side.
| Museum | By | Værker af John Lambert | Malerier fra denne liste |
|---|---|---|---|
 Pennsylvania Academy of Fine Arts |
Philadelphia | 1 | Sketch of an Unidentified Man |
Sketch of an Unidentified Man
Vores katalog indeholder 1 værker af John Lambert.
De fleste af dem findes i Pennsylvania Academy of Fine Arts (Philadelphia). Tabellen ovenfor lister museerne enkeltvis.
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.
Philadelphia, March 10, 1861. John Lambert, Jr. enters a world shaped by his father, John Lambert. His early years involve travel across Europe and England alongside his parents, a childhood movement that places the visual world directly before him. This early exposure feeds a growing interest in the mechanics of sight and form.
The path toward professional discipline begins at the Pennsylvania Academy of the Fine Arts. For ten years, the training is dual and rigorous. He does not merely study the brush; he studies the structure of space. His education splits between the fine arts and architecture, a decade of technical discipline that bridges the gap between the creative impulse and the mathematical necessity of design.
In 1888, the focus shifts toward the center of the European tradition. He travels to Paris to enter the Academie Julien. This period in France marks the transition from student to practitioner. The architectural precision of his training meets the formal demands of the Parisian academies, refining the hand that would eventually become known for its portraiture.
Upon returning to the United States from Paris, Lambert establishes himself as a portrait painter. His presence in the American art scene grows through a series of high-profile exhibitions. He displays his work at the American Art Exhibition and the Corcoran Gallery in Washington. His reputation expands through the late 1890s as his paintings move through major cultural hubs.
The exhibition circuit becomes a constant rhythm. From November 21 to December 3, 1898, his work is shown at the Boston St. Botolph Club. This is followed quickly by a showing at the Society of American Artists in April 1899. By the end of that year, his paintings reach the Art Institute of Chicago, where they are exhibited from November 6 to December 17. His professional reach extends to the Louisiana Purchase Exposition in 1904.
The light that once served his craft becomes his undoing during a trip to Spain. The intense reflection of the sun off the white roads causes a sudden, devastating affliction of blindness. This loss of sight triggers a profound nervous breakdown. He returns to the United States and spends months confined to a dark room at the Pennsylvania Hospital, seeking relief from the darkness that has overtaken his vision.
The psychological toll of his blindness proves insurmountable. Grief over his condition accelerates his physical and mental decline. In 1907, the struggle ends at his home in Jenkintown. He dies there, leaving behind a legacy that would eventually extend far beyond his own canvases through his significant financial contributions to the institutions that trained him.
Upon his death, Lambert leaves behind a substantial endowment of $30,000 to the Pennsylvania Academy of the Fine Arts. This bequest carries a specific, intentional directive. The funds are earmarked for the acquisition of works by younger artists and those who remain undiscovered. It is a practical mechanism designed to support merit over established reputation.
The impact of this endowment manifests through the Lambert Fund. By 1961, the fund has expanded to include over three hundred pieces. This collection brings together the works of significant figures such as Edward Hopper, Stuart Davis, and Charles Burchfield. The program functions as a continuous experiment in nurturing American art from the grass roots up.