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Commodore Oliver Hazard Perry
Ranku tapytos aliejaus reprodukcija nuo $181 29 × 35 cm
Pusė kaip originalo $265 55 × 68 cm Užsakyti originalaus dydžio →
Veržė Jane Stuart šlovę tapyba Commodore Oliver Hazard Perry (1823); ji eksponuojama Toledo meno muziejus, Toledo. A scene from Laurence Sterne's novel "A Sentimental Journey Through France and Italy." (1834) ir George Washington (1732-1799), after Gilbert Stuart (1755-1828) (1855) seka juos kolekcionerių bei muziejų lankytojų širdyse. Iš 7 Jane Stuart kūrinių mūsų kataloge, šios 6 yra labiausiai gerbiamos – kiekvienas jų pateikiamas su datos, muziejaus ir išskirtinės ypatybės aprašymu.
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.
5 muziejai, kuriuose saugoma daugiausia šioje pusėje esamų paveikslų.
| Muzejaus | Miestas | Jane Stuart darbai | Šiojo sąrašo paveikslai |
|---|---|---|---|
 Harvard Art Museums |
Kembrižas | 2 | George Washington (1732-1799), after Gilbert Stuart (1755-1828), Florence Sparks Moore (1845-1915) |
 Toledo meno muziejus |
Toledo | 1 | Commodore Oliver Hazard Perry |
| Vanderbilt meno muziejus | Nashville | 1 | A scene from Laurence Sterne's novel "A Sentimental Journey Through France and Italy." |
 Birmingham art muziejus |
Birminghamas | 1 | Oliver Hazard Perry |
 Museum of Fine Arts |
Bostonas | 1 | Alicia Boylston |
Commodore Oliver Hazard Perry (1823), Toledo meno muziejus, Toledo. Toliau yra A scene from Laurence Sterne's novel "A Sentimental Journey Through France and Italy." (1834) ir George Washington (1732-1799), after Gilbert Stuart (1755-1828) (1855).
11 metų amžiaus: Commodore Oliver Hazard Perry sukurta 1823 m. ir Jane Stuart gimė 1812.
Mūsų kataloge yra 7 Jane Stuart darbų, datuojamų nuo 1823 iki 1865.
Dauguma jų yra Harvard Art Museums (Kembrižas), Toledo meno muziejus (Toledo) ir Vanderbilt meno muziejus (Nashville). Viršuje esančiame lange muziejai išvardyti po vieni.
1850s laikotarpyje: 2 iš 6 šioje pusėje esančių darbų sukurtos tada, iš jų – George Washington (1732-1799), after Gilbert Stuart (1755-1828).
Pirmasis šioje pusėje yra Commodore Oliver Hazard Perry (1823), paskutinis – Florence Sparks Moore (1845-1915) (1865).
George Washington (1732-1799), after Gilbert Stuart (1755-1828) ir Florence Sparks Moore (1845-1915) yra vieni iš 2 šioje puslapyje esamų darbų, kuriuos saugo Harvard Art Museums, Kembrižas.
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.
In a Boston studio during the early 19th century, a young girl watches the light shift across a canvas. She is not permitted to hold the brush or receive formal instruction. Instead, Jane Stuart spends her childhood grinding pigments and filling in the backgrounds of her father's large-scale works. Her father, Gilbert Stuart, believes that true talent requires no formal training, a philosophy that leaves Jane to learn the nuances of light and form through observation and the quiet labor of an assistant. She absorbs the mechanics of portraiture by watching him work, absorbing the subtle movements of a hand that will eventually define her own.
The atmosphere of the household is one of both artistic intensity and emotional weight. As the youngest of many children, Jane navigates a life shaped by her father's mental struggles and the sudden, heavy necessity of survival. When Gilbert Stuart dies, the family's financial stability vanishes. At sixteen, the responsibility of supporting her family falls to her. She moves from the role of an observer to a professional, establishing a studio in Boston to secure a livelihood through the very skills she was once forbidden to formally study.
Jane Stuart finds her niche in the delicate, precise world of miniature painting. While her father's reputation rests on large-scale oils, Jane masters the small-scale portrait, a medium requiring immense control and a steady hand. She becomes particularly known for her depictions of George Washington. These are not merely copies; they are interpretations of her father's famous likenesses. Her versions of Washington are highly sought after, with one notable example finding its place in the Kennedy School of Government at Harvard University.
Her technical skill allows her to navigate the transition from the studio of a master to a professional career in her own right. She works in oils and miniatures, capturing the likenesses of her era with a precision that rivals the men of her profession. Her move to Newport, Rhode Island, marks a significant chapter in her career. In this coastal town, she becomes the first woman to establish herself as a professional portrait painter, carving out a space for female artists in a landscape dominated by male contemporaries.
The trajectory of her life is marked by both resilience and loss. A fire in the 1850s destroys her Boston studio, consuming much of her work and the personal mementos of her father's life. This loss does not end her practice. She continues to paint, eventually becoming a well-known figure in Newport, often referred to as “Miss Jane.” Her life reflects the shifting social and economic realities of 19th-century America, moving from the intense, crowded domesticity of a famous artist's household to the independent life of a professional woman in a growing coastal community.
Her historical significance is tied to her ability to sustain a family and a career through sheer technical competence. She did not merely replicate the past; she translated the visual language of her father into a sustainable, professional practice. By the time of her death in 1888, she had transitioned from a girl grinding colors in the shadows of a master to a woman who had secured her own place in the history of American portraiture.