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Sir Daniel Macnee, 1806 - 1882. Artist
Käsitööna maalitud õlireproduction alates $181 30 × 34 cm
Originaadi suurusega $255 56 × 61 cm Telli originaalkoguses →
Sir Daniel Macnee, 1806 - 1882. Artist (1870) on James Macbeth kuulsaim teos, mis kuulub Edinburgh Šoti Rahvusportreegalerii kogumikus. James Macbeth 1 teoseaga meie kataloogist on siin 1 kõige vaadeldavamat teost, mida sammlerid ja muuseumi külastajad on jälginevad, koos aasta, museumi ja iga teose ajaloolise luguga.
Reiting põhineb meie populaarsusindeksil, mis koondab iga teose otsingud, külastused ja tellimused. Uuendatud november 2026. Iga selle lehekülje meistriteos on tellitav muuseumikvaliteedse käsitsi maalatuna õlireproduktsiona või fine art trükkina vastavalt valitud suurusele.
Muuseum, milles on kõige rohkem sellel lehel esitatud teoseid.
| Muuseum | Linn | James Macbeth teosed | Selle nimekirja maalid |
|---|---|---|---|
 Šoti Rahvusportreegalerii |
Edinburgh | 1 | Sir Daniel Macnee, 1806 - 1882. Artist |
1870 on iga sellel lehel esitatud James Macbeth meistriteose kuupäev; siin on need kuupäevast tulnud teosed kubus järjekorras.
Sir Daniel Macnee, 1806 - 1882. Artist (1870)
23 aastat vanus: teos Sir Daniel Macnee, 1806 - 1882. Artist on aastatest 1870 ja kunstnik James Macbeth on sündinud aastal 1847.
Meie kataloogist leiate 1 teost kunstnikult James Macbeth.
Enamik neist asub Šoti Rahvusportreegalerii (Edinburgh). Ülemal olev tabel on loetelnud muuseumid üks-eiralt.
Jah. Iga maali sellel lehel on võimalik tellida muuseumikvaliteedilisena käsitööna valminud õlimaalina või fine art trükkina vastavalt valitud måõduna otse maali oma lehekülalt.
The year is 1847 in Glasgow. James Macbeth enters a world where the lines of Scottish identity are being drawn through brushstrokes and ink. He is born into a family of creators; his father, Norman Macbeth, is a portrait painter, and his brothers, Robert Walker and Henry, will also find their way into the arts. This lineage is not merely a coincidence of birth but a shared language of form and color. James moves between the creative hubs of London and Scotland, establishing a presence in both the metropolitan galleries and the local scenes of his homeland.
His work often turns toward the human figure and the quietude of domestic life. In his portrait of Sir Daniel Macnee, he captures the likeness of a contemporary artist, a choice that places him directly within the professional circles of his era. He does not merely record a face; he engages with the social fabric of the mid-nineteenth century.
As the 1880s approach, a shift occurs in the atmosphere of his compositions. His painting A quiet afternoon signals a departure from strict realism toward something more atmospheric. This work anticipates the mood of Aestheticism, a movement that prioritizes sensory experience and a specific kind of contemplative stillness. The scene is not one of action, but of a lingering, suspended moment.
His output is defined by two primary modes of expression:
The trajectory of James Macbeth is cut short in 1891. He leaves behind a body of work that bridges the gap between traditional Scottish portraiture and the emerging sensibilities of the late Victorian period. His presence in the National Galleries of Scotland ensures that his contribution to the visual history of his country remains documented, even as the movements he helped anticipate continue to evolve.