Maleriet, der gjorde Peter Taylor berømt, er Robert Burns, 1759 - 1796. Poet (1786); det hænger på Scottish National Portrait Gallery i Edinburgh. Af de 1 værker af Peter Taylor 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 Peter Taylor | Malerier fra denne liste |
|---|---|---|---|
 Scottish National Portrait Gallery |
Edinburgh | 1 | Robert Burns, 1759 - 1796. Poet |
Hvert dateret mesterværk af Peter Taylor på denne side tilhører 1786: her er de.
Robert Burns, 1759 - 1796. Poet (1786)
30 år gammel: Robert Burns, 1759 - 1796. Poet er fra 1786, og Peter Taylor blev født i 1756.
Vores katalog indeholder 1 værker af Peter Taylor.
De fleste af dem findes i Scottish National Portrait Gallery (Edinburgh). 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.
Born in Edinburgh in 1756, Peter Taylor lived a life shaped by the practicalities of color and surface. He was a man of many trades, working as an interior decorator, a carriage painter, and a house painter. His hands were accustomed to the textures of walls and the smooth curves of transport, yet he found his way into the quiet intimacy of portraiture. He did not seek the grand scale of the academy, focusing instead on the small, the immediate, and the personal.
In the winter of 1786, a meeting at a dinner party changed the course of his small legacy. He met the poet Robert Burns, and the two shared breakfast together at Taylor's home in West Register Street. This proximity allowed for a rare kind of observation. Over three sittings, Taylor captured the poet's likeness in oil on a small panel. While other portraits of the time sought a polished ideal, Taylor’s work was noted for its resemblance to the man himself, capturing a specific air that others felt was true to the subject's character.
Beyond the canvas, Taylor looked toward the mechanics of industry. He sought to bring new methods of production to Scotland, specifically the manufacture of painted wax cloth. This was a practical endeavor, a way to create linen floor coverings that could withstand the wear of daily life. The Board of Manufactures recognized the utility of his work, granting him £100 toward the costs of his machinery and buildings in 1788.
The physical toll of his work and his health eventually led him away from the familiar streets of Edinburgh. He suffered from tuberculosis, a condition that forced a retreat to the south. He moved to Marseille, where he died in 1788, leaving behind a widow and an infant daughter. His life was a collection of small, industrious movements—from the decorative flourishes on a carriage to the careful application of oil on a small wooden panel.