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Portrait of Thomas Dermody (1775-1802), Poet
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Portrait of Thomas Dermody (1775-1802), Poet (1802) on Charles Allinghamin kuuluisin maalaus, jota säilytetään National Gallery of Ireland -museossa kaupungissa Dublin. Tässä ovat Charles Allingham teoksista 1 eniten keräilijöiden ja museokävijöiden katsomia 1 teosta, sisältäen teoksen vuosiluvun, museon sekä tarinan jokaisesta teoksesta.
Sijoitus perustuu suosiotulokseemme, joka yhdistää kunkin teoksen haut, vierailut ja tilaukset. Päivitetty marraskuu 2026. Jokainen tämän sivun mestariteos on tilattavissa museolaatuisena, käsinmaalattuna öljyreproduktiona tai taideprinttinä valitsemassasi koossa.
Museo, jossa on eniten tämän sivun maalauksista.
| Museo | Kaupunki | Charles Allingham teokset | Tämän listan maalaukset |
|---|---|---|---|
 National Gallery of Ireland |
Dublin | 1 | Portrait of Thomas Dermody (1775-1802), Poet |
1802 on jokaisen tällä sivulla olevan päivätyn Charles Allingham mestariteoksen vuosi: tässä ne ovat, suosituimmuusjärjestyksessä.
Portrait of Thomas Dermody (1775-1802), Poet (1802)
14 vuotta vanha: Portrait of Thomas Dermody (1775-1802), Poet on peräisin vuodelta 1802 ja Charles Allingham on syntynyt vuonna 1788.
Luettelossamme on 1 teosta taiteilijalta Charles Allingham.
Suurin osa niistä sijaitsee kohteessa National Gallery of Ireland (Dublin). Yllä oleva taulukko listaa museot yksitellen.
Kyllä. Jokainen tämän sivun maalauksista voidaan tilata museolaatuisena, käsinmaalattuna öljyreprospektina tai taidepainoksena valitsemassasi koossa suoraan maalauksen omalta sivulta.
Charles Allingham was a British painter and draughtsman whose career reflects the migratory patterns of skilled artisans during the early nineteenth century. Born in 1788, he established a professional presence that spanned several decades, though his most concentrated period of activity is noted between 1802 and 1812. He was a man of movement, eventually leaving England to settle in Malta, where he became a recognized figure in the local artistic landscape. His presence on the island was well-documented by 1819, marking him as one of the early foreign residents contributing to the Mediterranean's visual record.
His technical output was not limited to a single genre. While his reputation rests heavily on portraiture, his skill as a draughtsman allowed him to engage with various subjects. He moved through different social circles, securing commissions from both military and civilian figures. This versatility suggests a professional pragmatism rather than a narrow focus on a specific school of thought. He lived in Casal Paola and eventually died of cholera in 1850, leaving behind a body of work that captures a specific, transitional moment in British and Maltese art history.
Allingham’s presence in Malta during the first decades of the nineteenth century shifted his focus toward a new social landscape. By 1819, he was established on the island, operating far from his English origins. He settled in Casal Paola, a location that placed him within the local community during a period of significant social transition. His time here was defined by a steady output of portraiture and landscape work that captured the specific character of the Maltese setting.
His work in Malta was not merely a temporary stay but a period of active engagement with the local population and its residents. He moved through various social circles, executing portraits that documented the faces of the era. This period of his career demonstrates a practical, professional approach to his craft, focusing on the immediate needs of his patrons. His death from cholera brought an abrupt end to this chapter of his career.
Allingham’s reputation rests largely on his ability to capture the likeness of his sitters, a skill that secured his place within the social circles of the nineteenth century. While he worked in various genres, including landscape painting, his primary output focused on portraiture. His presence in Malta allowed him to access a specific class of patrons, moving beyond mere sketches to execute formal works that defined the visual record of the era. He was not merely a painter of scenery; he was a painter of people, often navigating the social hierarchies of the British presence on the island.
His professional connections were often tied to the social introductions of the time. In February 1825, he was introduced to Lady Richardson, the wife of Sir John Richardson. This connection placed him in the orbit of influential figures, including Sir John himself, who was noted for his scholarly character. Such associations provided the necessary social capital to sustain a career in a foreign territory. His work during this period was not limited to the elite; he executed a variety of portraits and other genres that reflected the diverse demographic of the Maltese landscape.
Allingham’s output was defined by a steady focus on the individuals who shaped the social and intellectual landscape of his era. His 1805 portrait of Thomas Dermody demonstrates an early command of the genre, capturing the poet with a directness that avoids unnecessary flourish. This period of his career shows a consistent ability to translate the presence of his sitters onto canvas, a skill that would sustain his reputation as a reliable portraitist for decades.
The 1810s saw him engaging with a variety of prominent figures, including Edward Williams D.D. and Samuel Crompton. These works reflect a professional capacity to handle the specific requirements of his clientele, whether they were members of the clergy or private gentlemen. His ability to navigate these different social spheres is evident in the breadth of his subject matter during this decade.
Later in his career, his work continued to document the influential figures of the day. His 1826 portrait of Sir John Richardson, Knt. remains a significant example of his later period. Through these specific commissions, Allingham provided a visual record of the people who defined the British and Maltese social circles of the early nineteenth century. His work is characterized by this commitment to the individual, focusing on the specificities of the sitter rather than the distractions of the background.