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Admiral Sir Charles Wager, 1666-1743
Hand-painted oil reproduction from $181 29 × 35 cm
Same size as the original $298 64 × 76 cm Order at original size →
Το πιο διάσημο έργο του Thomas Gibson είναι το Admiral Sir Charles Wager, 1666-1743 (1731), στο National Maritime Museum, Λονδίνο. Ο κατάλογός μας περιλαμβάνει 1 έργα του Thomas Gibson· τα 1 παρακάτω είναι εκείνα που ο κόσμος θαυμάζει περισσότερο, συνοδευόμενα από την χρονολογία τους, το μουσείο που τα φιλοξενεί και τη σημασία τους.
Καταταγίζονται με βάση το σκορ δημοφιλίας μας, το οποίο συνδυάζει τις αναζητήσεις, τις επισκέψεις και τις παραγγελίες για κάθε έργο. Ενημερώθηκε Οκτώβριος 2026. Κάθε αριστούργημα σε αυτήν τη σελίδα μπορεί να παραγγελθεί ως μια χειροποίητη αναπαραγωγή σε λάδι υψηλής ποιότητας μουσείου ή ως ένα εκτύπωμα fine art, στο μέγεθος που επιλέξετε.
Το μουσείο που φιλοξενεί τα περισσότερα έργα σε αυτήν τη σελίδα.
| Μουσεία | Πόλη | Έργα του Thomas Gibson | Πάτρια από αυτή τη λίστα |
|---|---|---|---|
 National Maritime Museum |
Λονδίνο | 1 | Admiral Sir Charles Wager, 1666-1743 |
Όλα τα έργα του Thomas Gibson με ημερομηνία σε αυτήν την σελίδα είναι από το 1731: ορίστε τα πιο διάσημα από αυτά.
Admiral Sir Charles Wager, 1666-1743 (1731)
51 ετών: το έργο Admiral Sir Charles Wager, 1666-1743 χρονολογείται από το 1731 και ο/η Thomas Gibson γεννήθηκε το 1680.
Ο κατάλογός μας περιλαμβάνει 1 έργα του Thomas Gibson.
Τα περισσότερα βρίσκονται στα National Maritime Museum (Λονδίνο). Ο παραπάνω πίνακας περιγράφει τα μουσεία ένα προς ένα.
Ναι. Κάθε έργο σε αυτήν τη σελίδα μπορεί να παραγγελθεί ως μια χειροποίητη αναπαραγωγή ελαιογραφίας επιπέδου μουσείου ή ως μια εκτύπωση fine art, στο μέγεθος που επιλέξετε, από την αντίστοιχη σελίδα του έργου.
Born in London around 1680, Thomas Gibson established himself as a steady presence in the English art scene as both a portrait painter and a copyist. His professional standing was solidified by his appointment as a founding director of Godfrey Kneller's Academy in London at Great Queen Street. This position placed him at the center of the city's artistic instruction and practice during a formative period for British portraiture.
The trajectory of his career was not without its interruptions. Between 1729 and 1731, a period of serious illness forced him to withdraw from his practice. During these years, he was obliged to sell his collection and seek refuge in Oxford. This setback necessitated a period of retirement, though he eventually returned to his studio to resume his professional life.
Gibson remained active in London until his death on 28 April 1751. Throughout his life, he maintained a reputation for technical skill, working as a master to notable figures such as George Vertue. His ability to capture the likeness of his sitters allowed him to secure the attention of significant figures, including the Princess of Wales, who later commissioned works from him.
The professional trajectory of Thomas Gibson was shaped by a steady stream of high-status commissions and significant professional collaborations. He found a reliable and constant patron in John Poulett, 1st Earl Poulett, who commissioned a great number of both original works and copies. This relationship provided a foundation of stability for the London-based painter. Beyond his private patrons, Gibson’s technical skill was sought after by his contemporaries; Sir James Thornhill, for instance, applied to him to sketch figures in action to assist in the composition of his large-scale pictures.
Later in his career, Gibson’s reputation earned him the patronage of Augusta, Princess of Wales. This connection brought him into the sphere of the British Royal Collection through several specific requests. In 1742, the Princess commissioned a group portrait of her four children, and she also requested a portrait of herself during the same year. These royal engagements marked a significant chapter in his later practice, following a period of professional interruption caused by serious illness.
Gibson’s brush captured many of the influential figures that defined the early eighteenth century. In 1710, he produced a portrait of Dr Henry Sacheverell, followed two years later by his depiction of John Flamsteed in 1712. These early successes established his ability to handle the likenesses of men of significant standing. His skill in portraiture allowed him to navigate the social hierarchies of London, moving between the academic circles of the capital and the private collections of the nobility.
The artist’s output continued through the middle decades of his life, even after the interruptions caused by his illness. In 1731, he painted Admiral Sir Charles Wager, a work that remains a notable entry in his record of naval and political subjects. His ability to render character was further evidenced in his full-length oil portrait of Lady Bridget. These works demonstrate a steady hand and a commitment to the formal requirements of English portraiture during a period of significant social change.