Robert Johnsonの最も有名な作品は、Washington, D.C.のスミソニアン・アメリカン・アート・ミュージアムに所蔵されているGrain Elevator, Kansas (1933)です。 当カタログにはRobert Johnsonによる1点の作品が掲載されています。以下の1点は、世界で最も注目されている作品であり、制作年、所蔵美術館、そしてその重要性についてまとめています。
各作品の検索数、閲覧数、および注文数を組み合わせた当サイトの人気スコアに基づきランキングを作成しています。最終更新：11月 2026
このページに掲載されている絵画を最も多く所蔵している 1 の美術館
| 美術館 | 都市 | Robert Johnsonの作品 | このリストの絵画 |
|---|---|---|---|
 スミソニアン・アメリカン・アート・ミュージアム |
Washington, D.C. | 1 | Grain Elevator, Kansas |
このページに掲載されているRobert Johnsonの年代別作品はすべて1933年のものです。その中でも特に有名な作品をご紹介します。
Grain Elevator, Kansas (1933)
Robert Johnsonによる1点の作品を掲載しています。
その多くはスミソニアン・アメリカン・アート・ミュージアム (Washington, D.C.)に所蔵されています。上記の表に各美術館を一覧で記載しています。
Born in Hopewell, Virginia, Robert Johnson was shaped by a family deeply rooted in the visual arts. His mother possessed a love for painting, and his brother, Ben, would eventually find distinction as a director of conservation for the Los Angeles County Museum. While his early years were marked by an instinctive pull toward the canvas, his path was not a direct one. He was a man of both intellect and physical prowess, attending Duke University on a football scholarship and later navigating the rigorous studies of Duke Law School. Yet, the quiet pull of the brush remained, a private passion held during the demanding years of his legal training.
The turning point arrived when his curiosity about the great art of Europe led him away from the predictable trajectory of a legal career. He spent two years living in a small German village, immersing himself in the language and the vast history of European art. This period of wandering and study prepared him for a profound decision. After returning to the United States and balancing the conflicting demands of law and art, he sought the guidance of Frank Wright at George Washington University. It was there that he received the counsel to commit his highest energies and best working time entirely to his craft, a realization that prompted him to turn his law practice over to his partner and embrace the life of a full-time painter in 1987.
His formal training was as diverse as it was rigorous, spanning various disciplines and masters. He sought out the most disciplined environments to refine his hand, moving from the study of painting to the structural complexities of sculpture and the precision of drawing. His education was a collection of intense, focused periods under the guidance of several instructors, including David Leffel, Robert Beverly Hale, Michael Burban, and Barney Hodes. He even spent time in the studio of Lajos Markos in Houston, Texas, absorbing the nuances of form and light.
His technical development is marked by several notable milestones:
Today, his life is split between the quietude of Vienna, Virginia, and the light of Taos, New Mexico. This duality of environment informs the breadth of his output, which has included twenty-one one-man shows in private galleries across the United States. He has not only focused on his own practice but has also dedicated himself to passing on his knowledge, producing seven instructional videos and teaching workshops throughout the United States and Canada. His written word, specifically his book On Becoming a Painter, serves as a reflection of the long, deliberate process he underwent to find his voice.
His work has found a place in significant collections, such as the Smithsonian American Art Museum in Washington, D.C., which holds his watercolor Grain Elevator, Kansas. This piece, a study of industrial architecture and landscape, reflects the precision and observational depth he cultivated through years of dedicated study. From the rural structures of the American landscape to the complex textures of his subjects, his work remains a product of that singular decision to give his best self to the canvas.