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Portrait of Thomas Dermody (1775-1802), Poet
Ranku tapytos aliejaus reprodukcija nuo $181 29 × 35 cm
Pusė kaip originalo $282 59 × 73 cm Užsakyti originalaus dydžio →
Portrait of Thomas Dermody (1775-1802), Poet (1802) yra garsiausias Charles Allingham paveikslas, esantis National Gallery of Ireland kolekcijoje Dublin mieste. Iš 1 Charles Allingham darbų mūsų kataloge – štai 1 dažniausiai analizuojami kolekcionerių bei lankytojų muziejų, su informacija apie metus, muziejų bei kiekvieno kūrinio istoriją.
Rangos vieta nulegiama pagal mūsų populiarumumo balas, kurį sudaro kiekvieno kūrinio paieškos, apsilankėjimai ir užsakėjimai. Atnaujinta lapkritis 2026. Kiekvieną šio puslapio šedevrą galite užsisakyti kaip muziejoriaus kokybės rankų darbo alievinę reprodukciją arba aukščiausios kokybės meninį spausdiną jūsų pasirinktu dydžiu.
1 muziejai, kuriuose yra daugiausia šioje puslapyje esamų paveikslų.
| Muzejaus | Miestas | Charles Allingham darbai | Šiojo sąrašo paveikslai |
|---|---|---|---|
 National Gallery of Ireland |
Dublin | 1 | Portrait of Thomas Dermody (1775-1802), Poet |
1802 yra kiekvieno šioje puslapyje pateikto su data Charles Allingham šedevro metai: štai jie, pagal šlovės eilę.
Portrait of Thomas Dermody (1775-1802), Poet (1802)
14 metų amžiaus: Portrait of Thomas Dermody (1775-1802), Poet sukurta 1802 m. ir Charles Allingham gimė 1788.
Mūsų kataloge yra 1 darbų autoriaus Charles Allingham.
Dauguma jų yra National Gallery of Ireland (Dublin). Viršuje esančiame lange muziejai išvardyti po vieni.
Taip. Kiekvieną šioje pusėje esantį paveikslą galite užsakyti kaip muziejoriaus kokybės rankų darbų alievinę kopiją arba aukščiausios kokybės spausdinį pasirinktu jūsų pageidaujamu dydžiu tiesiai iš paties paveikslą puslapio.
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.