Teos, mis tegi A. Patrick kuulsaks, on Mrs. Benajah Johnson (1830); see ripub Smithsonian American Art Museum-is, Washington, D.C.. Sellest 2 teosest, mis A. Patrick teosena meie kataloogis on, on need 2 kõige imetlevamat, millist igaüks on esitatud koos kuupäeva, museumi ja oma eripärase tähelepanekuga.
Reiting põhineb meie populaarsusindeksil, mis koondab iga teose otsingud, külastused ja tellimused. Uuendatud november 2026.
Muuseum, milles on kõige rohkem sellel lehel esitatud maaleid.
| Muuseumid | Linn | A. Patrick teosid | Selle nimekirja maalid |
|---|---|---|---|
 Smithsonian American Art Museum |
Washington, D.C. | 2 | Mrs. Benajah Johnson, Benajah Johnson |
Kõik sellel lehel olevad A. Patrick kuupäevaga meistriteosed kuuluvad aastale 1830: siin on need.
Mrs. Benajah Johnson (1830)
Meie kataloogist leiate 2 teost kunstnikult A. Patrick.
Enamik neist asub Smithsonian American Art Museum (Washington, D.C.). Ülemal olev tabel on loetelnud muuseumid üks-eiralt.
Ajalisel perioodil 1830: 2 2 sellel lehel olevat teost on sellest ajast, მათhulgas Mrs. Benajah Johnson.
Mrs. Benajah Johnson ja Benajah Johnson on üks 2 teosest sellel lehel, mida hoiab Smithsonian American Art Museum, Washington, D.C..
The brush meets the canvas in a quiet studio, capturing the likeness of the Benajah Johnson family. In 1830, A. Patrick works with oil on canvas, a medium that demands patience and a steady hand. The light settles on the subjects, freezing a specific moment of nineteenth-century life within the frame. These are not mere sketches; they are deliberate records of identity, preserved through the careful application of pigment.
The work exists now within the halls of the Smithsonian American Art Museum in Washington, D.C. Here, the portraits of Benajah Johnson and Mrs. Benajah Johnson remain as physical remnants of a bygone era. The textures of the oil paint hold the weight of their history, surviving long after the sitters themselves have passed into memory.
The artist's output is defined by these specific, documented encounters with his subjects. His technique focuses on the formal requirements of portraiture during this period, ensuring the likenesses remain accurate for posterity. The collection of his work highlights a specific focus on the individuals of the time:
A. Patrick remains a figure defined by these specific contributions to the American portraiture tradition. While the broader details of his personal life remain obscured by time, his technical presence is confirmed by the preservation of his work in major institutions. The gift of Mrs. Frank Cummings Cook in 1966 ensured that these specific oils would continue to exist, allowing the faces of 1830 to remain visible to the modern eye.