Portrait of a Gentleman (1840) er det mest berømte maleri af Thomas E. Barratt, som er i Metropolitan Museum of Arts samling i New York. Henry Smith (1854) og Mr. Drury (1850) er de næste to værker, som verden kender bedst. Udvalgt fra de 3 værker af Thomas E. Barratt i vores katalog er her de 3, som samlere og museumsgæster oftest opsøger, inklusiv årstal, museum og historien bag hvert værk.
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.
De 2 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Thomas E. Barratt | Malerier fra denne liste |
|---|---|---|---|
 Smithsonian American Art Museum |
Washington, D.C. | 2 | Henry Smith, Mr. Drury |
 Metropolitan Museum of Art |
New York | 1 | Portrait of a Gentleman |
15 års Thomas E. Barratts malerier, fra 1840 til 1854, fortalt år for år gennem de mest kendte værker.
Portrait of a Gentleman (1840), Metropolitan Museum of Art, New York. Derefter følger Henry Smith (1854) og Mr. Drury (1850).
26 år gammel: Portrait of a Gentleman er fra 1840, og Thomas E. Barratt blev født i 1814.
Vores katalog indeholder 3 værker af Thomas E. Barratt, dateret fra 1840 til 1854.
De fleste af dem findes i Smithsonian American Art Museum (Washington, D.C.) og Metropolitan Museum of Art (New York). Tabellen ovenfor lister museerne enkeltvis.
Det tidligste på denne side er Portrait of a Gentleman (1840), det seneste Henry Smith (1854).
Henry Smith og Mr. Drury er blandt de 2 værker på denne side, som er i Smithsonian American Art Museum, Washington, D.C.'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.
The life of Thomas E. Barratt was defined by the precision of the small scale. Born in England around 1814, he moved through a world that demanded intimacy in its portraiture. He was a miniaturist and portrait painter, a profession requiring a steady hand and a keen eye for the subtle nuances of human character. His career, which spanned the years between 1837 and 1854, was a quiet pursuit of likeness, capturing the essence of his subjects on surfaces as delicate as ivory.
His work, such as the watercolor on ivory titled Mr. Drury, reveals a technical mastery of the medium. In such pieces, the artist had to navigate the translucent qualities of the ivory to create depth and life. He focused on the details of dress—the frilled shirt, the patterned cravat, and the high-tied stock—to ground his subjects in their specific era. These were not grand, sweeping canvases, but private treasures meant to be held and studied closely.
Barratt’s presence in the American art landscape was marked by this dedication to the minute. While many artists sought the scale of the public gallery, he found his purpose in the intimate space of the portrait miniature. His movement through the mid-nineteenth century saw him active in the United States, where he continued his practice until his passing after 1854. His ability to translate a sitter's identity into a small, portable format speaks to a specific kind of technical discipline.
The historical significance of his work lies in its preservation of the individual. Through his use of watercolor, he captured the textures of fabric and the soft contours of the face with a precision that larger oils often struggle to replicate. His legacy is found in the quiet, detailed records of the people he painted, preserved in collections like the Smithsonian American Art Museum.