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Sir Daniel Macnee, 1806 - 1882. Artist
Håndmalt oljereproduksjon fra $181 30 × 34 cm
Samme størrelse som originalen $255 56 × 61 cm Bestill i original størrelse →
Sir Daniel Macnee, 1806 - 1882. Artist (1870) er det mest kjente maleriet av James Macbeth, og er en del av samlingen til Scottish National Portrait Gallery i Edinburgh. Av de 1 verkene til James Macbeth i vår katalog, er dette de 1 som samlere og museumsgjester studerer mest, inkludert årstall, museum og historien bak hvert verk.
Rangert etter vår popularitetsscore, som kombinerer søk, visninger og bestillinger for hvert verk. Oppdatert November 2026. Hvert mesterverk på denne siden kan bestilles som en håndmalt oljereproduksjon av museumskvalitet eller som et kunsttrykk, i den størrelsen du velger.
Museet som har flest av maleriene på denne siden.
| Museum | By | Verker av James Macbeth | Malerier fra denne listen |
|---|---|---|---|
 Scottish National Portrait Gallery |
Edinburgh | 1 | Sir Daniel Macnee, 1806 - 1882. Artist |
1870 er året for hvert daterte James Macbeth-mesterverk på denne siden: her er de, i rekkefølge etter berømmelse.
Sir Daniel Macnee, 1806 - 1882. Artist (1870)
23 år gammel: Sir Daniel Macnee, 1806 - 1882. Artist er fra 1870, og James Macbeth ble født i 1847.
Vår katalog inneholder 1 verk av James Macbeth.
De fleste av dem befinner seg i Scottish National Portrait Gallery (Edinburgh). Tabellen ovenfor lister opp museene ett etter ett.
Ja. Hvert maleri på denne siden kan bestilles som en håndmalt oljereproduksjon av museumskvalitet eller som et kunsttrykk i ønsket størrelse, direkte fra maleriets egen side.
The year is 1847 in Glasgow. James Macbeth enters a world where the lines of Scottish identity are being drawn through brushstrokes and ink. He is born into a family of creators; his father, Norman Macbeth, is a portrait painter, and his brothers, Robert Walker and Henry, will also find their way into the arts. This lineage is not merely a coincidence of birth but a shared language of form and color. James moves between the creative hubs of London and Scotland, establishing a presence in both the metropolitan galleries and the local scenes of his homeland.
His work often turns toward the human figure and the quietude of domestic life. In his portrait of Sir Daniel Macnee, he captures the likeness of a contemporary artist, a choice that places him directly within the professional circles of his era. He does not merely record a face; he engages with the social fabric of the mid-nineteenth century.
As the 1880s approach, a shift occurs in the atmosphere of his compositions. His painting A quiet afternoon signals a departure from strict realism toward something more atmospheric. This work anticipates the mood of Aestheticism, a movement that prioritizes sensory experience and a specific kind of contemplative stillness. The scene is not one of action, but of a lingering, suspended moment.
His output is defined by two primary modes of expression:
The trajectory of James Macbeth is cut short in 1891. He leaves behind a body of work that bridges the gap between traditional Scottish portraiture and the emerging sensibilities of the late Victorian period. His presence in the National Galleries of Scotland ensures that his contribution to the visual history of his country remains documented, even as the movements he helped anticipate continue to evolve.