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View of Banff with the Bridge over the River Deveron
Χειροποίητη ελαιογραφική αναπαραγωγή από $181 36 × 28 cm
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Το έργο που έκανε τον/την John Fleming διάσημο/η είναι το View of Banff with the Bridge over the River Deveron (1825)· εκτίθεται στο Εθνική Πινάκοθήκη της Σκωτίας, Έδιμβουργο. Από τα 1 έργα του John Fleming στον κατάλογό μας, αυτά τα 1 είναι τα πιο θαυμαστότερα, το καθένα παρουσιασμένο με την ημερομηνία, το μουσείο και τα ιδιαίτερα χαρακτηριστικά του.
Καταταγίζονται με βάση το σκορ δημοφιλίας μας, το οποίο συνδυάζει τις αναζητήσεις, τις επισκέψεις και τις παραγγελίες για κάθε έργο. Ενημερώθηκε Νοέμβριος 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 με τη μεγαλύτερη συγκέντρωση έργων σε αυτήν τη σελίδα.
| Μουσείο | Πόλη | Έργα του John Fleming | Πάτρια από αυτή τη λίστα |
|---|---|---|---|
 Εθνική Πινάκοθήκη της Σκωτίας |
Έδιμβουργο | 1 | View of Banff with the Bridge over the River Deveron |
Κάθε ξεχωριστό έργο του John Fleming με ημερομηνία από το 1825 που περιλαμβάνεται σε αυτήν τη σελίδα βρίσκεται εδώ.
View of Banff with the Bridge over the River Deveron (1825)
33 ετών: το έργο View of Banff with the Bridge over the River Deveron χρονολογείται από το 1825 και ο/η John Fleming γεννήθηκε το 1792.
Ο κατάλογός μας περιλαμβάνει 1 έργα του John Fleming.
Τα περισσότερα βρίσκονται στα Εθνική Πινάκοθήκη της Σκωτίας (Έδιμβουργο). 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.
John Fleming began his path in the world of color not as a scholar, but through the practical labor of a house painter. At fourteen, he entered an apprenticeship that grounded him in the physical reality of pigments and surfaces. This early training likely shaped his eye for the subtle textures found in the Scottish landscape. After spending time in London, where he worked as a housepainter and studied the works held in various galleries, he eventually settled in Greenock. His life was deeply tied to this community, moving between premises on William Street and Hamilton Street.
While his hands were often busy with the practicalities of trade, his mind was focused on the quiet beauty of his homeland. He became a man who recorded the changing face of his surroundings, capturing the development of Greenock through his brush. His work was not merely about grand vistas; it was about the specific, lived reality of the places he knew.
Fleming found a particular rhythm in creating small-scale paintings of Scottish scenery. He did not seek to overwhelm the viewer with scale, but rather to offer intimate glimpses of the land. Much of his most recognized work came from a close professional bond with the engraver and publisher Joseph Swan. Together, they brought detailed views of the local landscape to a wider audience through several published series:
The publication regarding the lakes of Scotland was especially well-received, appearing in multiple editions throughout the 1830s. These prints allowed his observations of the natural world to reach beyond the borders of Greenock. Alongside these landscapes, he also worked as a portrait painter, often capturing the likenesses of local merchants who lived and traded in the same streets where he worked.
Fleming was an active participant in the growing artistic community of his time. He was an original member of the Institution for Promoting and Encouraging the Fine Arts in the West of Scotland, formed in 1821. His dedication to the local arts scene was further evidenced by his membership in the Watt Club and his election to the West of Scotland Academy in 1841. He also shared his work with the Royal Scottish Academy, exhibiting landscapes there in 1828, 1830, and 1837.
His death in February 1845 left a void in the local community, a sentiment reflected in the gravestone erected by friends and admirers. Today, the traces of his life's work remain held in several important collections, including the McLean Museum and Art Gallery in Greenock, the National Galleries of Scotland, and the University of Edinburgh. Through these pieces, the landscapes he once walked continue to be seen.