Slika koja je proslavila A. Patrick je Mrs. Benajah Johnson (1830); nalazi se u muzeju Smithsonian American Art Museum, Washington, D.C.. Od 2 djela umjetnika A. Patrick u našem katalogu, ovih 2 najcenjenijih, a svako je predstavljeno s datumom nastanka, muzejom i onim što ga izdvaja.
Rangirano prema našoj ocjeni popularnosti, koja objedinjuje broj pretraživanja, posjeta i narudžbi za svako djelo. Ažurirano Studeni 2026.
1 muzeja u kojima se nalazi najviše djela s ove stranice.
| Muzej | Grad | Djela autora A. Patrick | Slike iz ovog popisa |
|---|---|---|---|
 Smithsonian American Art Museum |
Washington, D.C. | 2 | Mrs. Benajah Johnson, Benajah Johnson |
Svako datirano remek-djelo umjetnika A. Patrick na ovoj stranici pripada godini 1830: evo ih.
Mrs. Benajah Johnson (1830)
Naš katalog sadrži 2 djela umjetnika A. Patrick.
Većina njih se nalazi u Smithsonian American Art Museum (Washington, D.C.). Gornja tablica navodi muzeje jedan po jedan.
U razdoblju 1830: 2 od ukupno 2 djela na ovoj stranici datira iz tog vremena, među kojima je i Mrs. Benajah Johnson.
Mrs. Benajah Johnson i Benajah Johnson su među 2 djela na ovoj stranici koja se nalaze u muzeju 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.