A pintura mais famosa de John Bogle é Självporträtt (1775), no Nationalmuseum, em Estocolmo. Com Okänd man, James Bogle (1775) e A Woman with the Initials MCC (1773), completam-se as três obras que todos reconhecem. O nosso catálogo lista 6 obras de John Bogle; as 6 abaixo são as mais admiradas no mundo, cada uma com o seu ano, o museu que a detém e a sua importância.
Classificado de acordo com o nosso índice de popularidade, que combina buscas, visitas e pedidos de cada obra. Atualizado em Novembro 2026. Cada obra-prima nesta página pode ser encomendada como uma reprodução em óleo pintada à mão, com qualidade de museu, ou como uma impressão de fine art, no tamanho de sua escolha.
Os 3 museus que detêm a maioria das pinturas desta página.
| Museus | Cidade | Obras de John Bogle | Pinturas desta lista |
|---|---|---|---|
 Nationalmuseum |
Estocolmo | 2 | Självporträtt, Okänd man, James Bogle |
 Metropolitan Museum of Art |
Nova York | 2 | A Woman with the Initials MCC, A Man with the Initials AC |
 Yale Center for British Art |
New Haven | 2 | Portrait of a Gentleman, Portrait of a Gentleman |
20 anos de obra de John Bogle, de 1773 a 1792, ano a ano: as pinturas mais famosas de cada ano, em ordem.
Självporträtt (1775), Nationalmuseum, Estocolmo. Seguem-se Okänd man, James Bogle (1775) e A Woman with the Initials MCC (1773).
29 anos: Självporträtt data de 1775 e John Bogle nasceu em 1746.
Nosso catálogo lista 6 obras de John Bogle, datadas de 1773 a 1792.
A maioria deles está em Nationalmuseum (Estocolmo), Metropolitan Museum of Art (Nova York) e Yale Center for British Art (New Haven). A tabela acima lista os museus um a um.
Em 1775: 2 das 6 obras nesta página datam dessa época, entre elas Självporträtt.
A obra mais antiga nesta página é de A Woman with the Initials MCC (1773), e a mais recente é de Portrait of a Gentleman (1792).
Självporträtt e Okänd man, James Bogle estão entre as 2 obras nesta página pertencentes ao Nationalmuseum, Estocolmo.
Sim. Todas as pinturas desta página podem ser encomendadas como uma reprodução em óleo pintada à mão com qualidade de museu ou como uma impressão de fine art, no tamanho de sua escolha, a partir da própria página da pintura.
In the intimate, luminous world of eighteenth-century portraiture, few artists captured the fleeting essence of a human gaze as tenderly as John Bogle. A master of the miniature, Bogle’s life and work represent a bridge between the rugged traditions of Scotland and the refined elegance of the London art scene. Born around 1746 in Glasgow, the son of an excise officer, Bogle’s journey began in the hallowed halls of the Foulis Academy. Under the tutelage of Robert and Andrew Foulis, he immersed himself in the disciplined study of drawing, a foundation that would later allow him to execute works of extraordinary delicacy on the most unforgiving of surfaces: ivory.
Bogle’s early career was marked by a burgeoning reputation that transcended borders. By the late 1760s, he was already exhibiting his miniatures at the Society of Artists in London, though his heart and roots remained tethered to Edinburgh. His talent possessed a unique duality; while his technique was rooted in the rigorous Scottish tradition, his move to London allowed him to engage with the burgeoning sophistication of the English school. This period of his life saw him establishing himself at 1, Panton Square, a prestigious address that placed him at the very center of the British art world.
The true magic of Bogle’s artistry lies in his ability to breathe life into tiny, precious objects. Working primarily with gouache and watercolor on ivory, he mastered the art of layering translucent washes to create a sense of depth and warmth that belied the miniature scale of his subjects. His portraits were not merely likenesses but emotional windows; whether depicting a noble gentleman or a delicate young lady, Bogle possessed an uncanny ability to capture the subtle nuances of character and the soft glow of skin through meticulous brushwork.
His contributions to the Royal Academy, where he exhibited regularly from 1772 until 1794, solidified his status among the elite painters of his era. Some of his most notable achievements include:
As the eighteenth century drew to a close, Bogle’s life came full circle. In 1800, he returned to Scotland with his wife, seeking the familiarity of his homeland. This final chapter of his life was spent in Edinburgh, the city where his artistic journey had been shaped by the Foulis Academy. His death in 1803 marked the end of a career that had navigated the shifting tides of British art history, leaving behind a collection of works that continue to enchant collectors and historians alike.
Today, the historical significance of John Bogle resides in his role as a stylistic conduit. His work epitomizes the subtle tension between the austere, disciplined Scottish style and the more decorative English approach. Through his miniatures, we are invited to witness a vanished world of elegance and poise, preserved forever in the tiny, radiant portraits that remain some of the most cherished treasures of the late Georgian period.