Portrait of the Artist (1645)はRobert Walkerの最も有名な作品であり、ロンドンのロイヤル・コレクションに所蔵されています。 Thomas Fairfax (1641)とCromwell (1641)は、世界で最もよく知られている次の2つの作品です。 当カタログに含まれるRobert Walkerの5作品の中から、コレクターや美術館の来館者が最も注目する5作品を厳選しました。各作品の制作年、所蔵美術館、そしてその背景にある物語をご紹介します。
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すべての名作は、ご希望のサイズで、美術館品質の手描き油彩複製画、またはファインアートプリントとしてご注文いただけます。
In this seventeenth-century oil portrait, we find ourselves in a quiet, private space with a young man who gazes back at us over his shoulder. The composition is intimate, a three-quarter view that suggests we have interrupted a moment of deep thought. He holds a piece of paper, a subtle nod to his vocation, while the stark white of his collar provides a sharp, luminous contrast against the deep shadows…
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 4 の美術館
| 美術館 | 都市 | Robert Walkerの作品 | このリストの絵画 |
|---|---|---|---|
 Statens Museum For Kunst |
コペンハーゲン | 2 | Thomas Fairfax, Cromwell |
 ロイヤル・コレクション |
ロンドン | 1 | Portrait of the Artist |
 オークランド・アート・ギャラリー・トイ・オ・タマキ |
オークランド | 1 | Oliver Cromwell |
 フィリップス・コレクション |
Washington, D.C. | 1 | Before a Storm |
このページでは、Robert Walkerの5年間にわたるキャリア（1641年から1645年）を、代表的な絵画とともに年を追ってご紹介します。
In this seventeenth-century oil portrait, we find ourselves in a quiet, private space with a young man who gazes back at us over his shoulder. The composition is…
Portrait of the Artist (1645)（ロイヤル・コレクション, ロンドン）。続いてThomas Fairfax (1641)、そしてCromwell (1641)が続きます。
38歳：Portrait of the Artistは1645年の作品で、Robert Walkerは1607生まれです。
当カタログには、1641年から1645年にかけて制作されたRobert Walkerによる5点の作品が掲載されています。
その多くはStatens Museum For Kunst (コペンハーゲン), ロイヤル・コレクション (ロンドン) と オークランド・アート・ギャラリー・トイ・オ・タマキ (オークランド)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。
1641における作品は、このページにある全5点のうち2点にのぼり、その中にはThomas Fairfaxが含まれます。
このページで最も古い作品はThomas Fairfax (1641)、最新の作品はPortrait of the Artist (1645)です。
Thomas Fairfax と Cromwellは、Statens Museum For Kunst, コペンハーゲンが所蔵するこのページ内の2点の作品のうちの一つです。
はい。このページに掲載されているすべての絵画は、各作品の個別ページから、ご希望のサイズで、美術館品質の手描き油彩複製画、またはファインアートプリントとしてご注文いただけます。
Robert Walker lived through a period of profound change in England. While his early years remain hidden from view, his presence becomes clear during the years of the Commonwealth. He worked as the chief painter for the parliamentary party between 1649 and 1658. His brush captured the faces of those who held power when the monarchy was set aside. Many of these portraits now reside in the National Portrait Gallery in London.
His hand moved with a style that felt familiar to those accustomed to the courtly elegance of Van Dyck. Yet, there is a distinction in his work that separates him from his influence. He did not simply copy the established manner; he brought a specific clarity to the men of the period. His portraits of Oliver Cromwell are perhaps his most noted contributions. Some versions show the Lord Protector in armour, with a page attending to his sash, while others present him more simply, from the waist up.
The subjects Walker chose were often men of significant political weight. He recorded the likenesses of Henry Ireton, John Lambert, and Charles Fleetwood. These were not mere sketches but formal records of a new leadership. In one instance, he painted Cromwell wearing a gold chain and decoration sent by Queen Christina of Sweden. Such details provide a glimpse into the diplomatic exchanges of the era.
Walker also turned his attention to others within the parliamentary circle, such as Richard Keble, John Evelyn, and Adrian Scrope. His work reached beyond the high-ranking officials to include figures like Richard Deane, a General at Sea. Even his own face appears in his records; he painted himself three times, with versions of these self-portraits held in both the National Portrait Gallery and the Ashmolean Museum at Oxford.
The physical traces of Walker's life are found in museum collections and old receipts. A receipt signed by him for a portrait of Cromwell remains in the Cromwell Museum. His ability to capture character is noted in the diaries of his contemporaries, such as John Evelyn, who sat for a portrait that included a death's head. These works remain part of the permanent collections in several institutions:
By the time of his death in 1658, Walker had left behind a visual record of an era defined by its break from tradition. His paintings serve as the primary way many people recognize the appearance of the leaders who shaped the English Commonwealth.