Er verkene til A. Patrick fortsatt beskyttet av opphavsrett?

Ja, verk av denne kunstneren er fortsatt beskyttet av opphavsrett.

Hva er de 3 best rangerte maleriene av A. Patrick på ArtsDot.com?

Mrs. Benajah Johnson, Benajah Johnson

Which collection holds the most works by A. Patrick in our catalog?

Smithsonian American Art Museum, Washington, D.C.

– Malerier, biografi og kjente verk

The Portraitist of 1830

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.

A Record of Presence

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:

Benajah Johnson: A portrait rendered in 1830, executed in oil on canvas.
Mrs. Benajah Johnson: A companion piece from 1830, also rendered in oil on canvas.

Historical Footprints

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.