Самая известная картина Джордж Дау — это Portrait of Emperor Alexander I (1824), которая находится в Государственный Эрмитаж, Санкт-Петербург. Вместе с Portrait of Admiral Alexander S. Shishkov (1754-1841) (1826) и Portrait of Arseny A. Zakrevsky (1783-1865) (1820) они образуют триптих из произведений, узнаваемых каждым. В нашем каталоге представлено 233 работ Джордж Дау; ниже перечислены 100 самых известных произведений с указанием года создания, музея, где они хранятся, и причин их значимости.
Рейтинг основан на нашем показателе популярности, который учитывает количество поисковых запросов, посещений и заказов для каждой работы. Обновлено Октябрь 2026. Каждое произведение на этой странице можно заказать как высококачественную масляную репродукцию ручной работы или художественную печать в любом выбранном вами размере.
The Portrait of Emperor Alexander I is a significant work by the English portraitist George Dawe. Created about 1824, this full-length portrait captures the Russian Emperor, Alexander I, in a moment of formal repose. The painting offers a direct encounter with the sovereign, presented in his capacity as a military leader.
A heavy silence settles in the room where the Admiral sits. He is an old man now, his face a map of weathered authority, etched with the fine lines of a life spent navigating both salt spray and political currents. His gaze is direct, meeting the observer with a steady, unblinking clarity that demands respect. The navy blue of his uniform is deep and somber, a stark contrast to the…
Arseny A. Zakrevsky is rendered in a bust-length composition, his gaze directed slightly to the viewer's left with a stoic, composed expression. The portrait captures a man of high-ranking military status, defined by the rigid structure of his nineteenth-century uniform. Dark hair is combed back from a forehead marked by a serious, authoritative countenance. Light enters from the upper left, casting soft shadows across the right side of the face…
Nikolai Sipyagin sits in a moment of quiet dignity, his body angled in a three-quarter view that suggests a man caught between duty and contemplation. He looks upward and toward the left, his eyes fixed on a point beyond the frame, as if scanning a distant battlefield or a future yet to unfold. The light catches the pale contours of his face, carving out the structure of his features against…
A single, steady gaze meets the viewer from a three-quarter view. The Grand Duke Nikolai Pavlovich is rendered in a dark military uniform, the fabric a deep navy or black that absorbs the light. Against this somberness, gold epaulettes and a crimson sash cut through the darkness. He holds a helmet in his left hand, the metal catching a glint of light. The silhouette is sharp, defined by the precision…
A single man occupies the center of this oil on canvas, his presence defined by a quiet, aristocratic composure. He sits in a bust-length pose, turned slightly toward the left, yet his eyes remain fixed upon the observer. The light enters from the upper left, carving the contours of his face with a soft, directional glow. This illumination casts gentle shadows across his features, lending a three-dimensional depth to his…
A single figure dominates the canvas, anchored by the rigid geometry of a military tunic. Count Alexey Arakcheyev meets the viewer's gaze with a steady, unyielding presence. The navy blue fabric of his uniform absorbs the light, while the gold of his epaulettes catches it, casting a sharp, metallic glint against the muted landscape. He is a man of structure. His posture is a vertical line of discipline, cutting through…
A single figure occupies the space, leaning with a heavy, practiced grace against the cold cylinder of a bronze cannon. Edward, Duke of Kent, is rendered in the sharp clarity of the Neoclassical tradition, his silhouette defined by the stark contrast of a scarlet military jacket against the dim, atmospheric air. The light falls from the upper left, carving the planes of his face and catching the fine, white feathers…
The gaze of history settles upon the Portrait of Grand Duchess Alexandra Fiodorovna with Children, a work by the English portraitist George Dawe. Within this frame, the Empress Alexandra Feodorovna of Russia, born Princess Charlotte of Prussia, sits in a moment of quiet, regal presence. She is not alone in this assembly; her two eldest children, Alexander and Maria Nikolaevna, are gathered by her side, anchoring the scene in a…
George Dawe painted Portrait of Empress Maria Feodorovna in Mourning about 1825. The subject is Empress Maria Feodorovna, originally born Duchess Sophie Dorothea of Württemberg. She held the position of Empress of Russia as the second wife of Emperor Paul I, following his assassination in 1801.
In this 1821 oil on canvas, we encounter Piotr Konovnitsyn, a man whose presence fills the space with a quiet, heavy authority. He is depicted in a three-quarter…
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A formal bust-length portrait of Ivan F. Paskevich, rendered in oil on canvas, captures the subject in a three-quarter turn. The composition emphasizes the rigid structure of a…
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The portrait presents a man in three-quarter view, positioned slightly off-center and facing toward the left. His gaze is directed toward the viewer. He wears a dark military…
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This oil on canvas portrait, dated 1822, depicts Fabian Gottlieb von der Osten-Sacken in a half-length pose. The subject is positioned slightly off-center, facing toward the viewer's right,…
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The gaze of Karl von Pirch meets the viewer from across the decades, fixed in a moment of quiet, commanding presence. Painted by George Dawe in 1821, this…
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In this portrait of Alexander S. Menshikov, we encounter a man defined by the gravity of his station. Painted around 1825, the work presents the subject in a…
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The portrait presents Empress Dowager Maria Feodorovna in a full-length composition, positioned with a slight off-center grace against a dramatic, moody landscape. She is draped in a voluminous…
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A formal bust-length portrait of Baron Pyotr Ivanovich Meller-Zakomelsky, rendered in 1823. The subject is positioned slightly off-center, his gaze meeting the observer with a steady, direct presence.…
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In this 1822 portrait, we encounter the Grand Duchess Maria Pavlovna, captured in a moment of quiet, regal composure. She is presented in a three-quarter length view, her…
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The Portrait of Charlotte von Lieven (1742/43-1828) is an oil on canvas work executed by the artist George Dawe. Dated 1827, this portrait depicts Charlotte Margarete Fürstin von…
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The Portrait of Miguel Ricardo de Alava by George Dawe captures a moment of quiet authority. This oil on canvas painting presents the likeness of Miguel Ricardo de…
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A vertical axis of authority anchors the canvas. Emperor Alexander I stands centered, a pillar of dark fabric against a vast, breathing landscape. The military tunic, deep and…
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To stand before this portrait is to step directly into the charged atmosphere of early nineteenth-century military life. George Dawe’s depiction of Alexander P. Kutuzov is far more…
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The air in the portrait feels heavy with the stillness of a quiet morning, yet the subject’s gaze reaches toward something far beyond the frame. Major General Prince…
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A single gaze meets the viewer from the shadows of a navy blue uniform. Leonty L. Bennigsen sits in the quiet stillness of 1822, his presence defined by…
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The air in the room seems to thicken as we encounter the presence of Ivan N. Durnovo. He does not merely sit for a portrait; he occupies the…
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A high-ranking military officer is rendered in a half-length composition, his gaze meeting the viewer with a quiet, steady confidence. He is dressed in full ceremonial regalia, the…
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Andrey Vasilyevich Bogdanovsky sits in a stillness that feels earned. His gaze is fixed slightly away from the viewer, directed toward a horizon only he can see. The…
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The air in the room feels heavy with the stillness of a man caught in a moment of quiet reflection amidst a life of action. Karl G. Stahl…
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The subject sits in a moment of quiet, heavy authority, his presence filling the space with the weight of military duty. He is positioned slightly off-center, his body…
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In this bust-length portrait, we encounter Andrey P. Zass, a man whose very posture speaks of the heavy responsibilities of high-ranking military life. He is positioned slightly off-center,…
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The air in the room seems to thicken with the weight of history as we face the bust-length portrait of Karl I. Bistrom. He does not look at…
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The air in the room seems to thicken around the figure of Alexander A. Bibikov. He sits in a three-quarter view, his gaze directed toward the right of…
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The Weight of Command Alexander, Prince of Wurttemberg is captured in a moment of stillness. He sits slightly off-center, his gaze directed toward the right of the frame.…
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The air in the room feels heavy with the stillness of a man who has seen the smoke of battle. Andrey I. Gudovich sits before us, his gaze…
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The Weight of Command A formal bust-length portrait of Fyodor F. Leviz, rendered in 1822, captures an elderly military figure in three-quarter profile. He gazes toward the left,…
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Nikolai M. Sipyagin gazes toward the upper left, his eyes fixed on a horizon unseen by the viewer. He sits in a three-quarter view, a posture that suggests…
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The air in the room feels heavy with the quiet dignity of a man who has seen the smoke of Borodino. Lieutenant General Yeremey Yakovlevich Savoini sits before…
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In this 1824 oil portrait, we encounter Gavriil Amvrosijevič Lukovkin, a man whose very presence suggests the gravity of his station. He is presented in a bust-length composition,…
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Ilya I. Alexeyev is rendered in a formal, bust-length composition, positioned at a subtle three-quarter turn. The portrait captures a man of high military standing, defined by an…
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A single light source carves the profile of Alexei P. Yermolov against a void of shadow. The illumination catches the ridge of a nose and the firm set…
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A single light source strikes the forehead and cheek of Alexander K. Riedinger, carving his features out of a murky, atmospheric void. He sits in a bust-length pose,…
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The portrait presents a bust-length view of Ivan Z. Yershov, positioned slightly off-center. He faces toward the viewer's left, while his gaze is directed forward to meet the…
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In this oil on canvas, we encounter Gerasim A. Shostakov, a man whose very posture speaks of the weight of command. The portrait, executed around 1824, presents the…
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The portrait depicts Anton A. Skalon, a Russian major general, presented in a bust-length composition. He is positioned centrally, with his torso turned slightly toward the viewer's left…
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The sitter, Pyotr P. Schroeder, is presented in a bust-length composition that emphasizes his status through the heavy weight of military regalia. He faces forward, though his gaze…
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The portrait depicts Fyodor V. (Dietrich Jacob) Tijl van Seraskerken, a man positioned in a bust-length view. He is oriented slightly toward the viewer's left, though his gaze…
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In this oil portrait, we encounter Pavel P. Pahlen, a man whose very presence commands the space around him. The composition is a bust-length study, positioning the subject…
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The portrait presents a bust-length view of Alexandr Ivanovich Talyzin, a Russian general, positioned slightly off-center against a muted gold and ochre background. He faces forward with a…
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The portrait presents a bust-length view of Nikolai I. Depreradovich, positioned centrally against a muted background of olive greens and ochre. He faces slightly toward the viewer's left,…
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A single gaze meets the observer from the dimness of a navy uniform. Mikhail Nikolayevich Matsnev sits with a quiet, heavy dignity, his presence anchored by the sharp…
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In this 1824 oil portrait, we encounter Ilya F. Chernozubov, a man whose very presence commands the space he occupies. He is presented in a bust-length composition, his…
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In this bust-length portrait, we encounter Alexander F. Langeron, a man whose very posture suggests the weight of high military office. He is positioned slightly off-center, his gaze…
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The gaze of Nikolai Dmitrievich Olsufyev meets the observer with a steady, unflinching intensity. He sits in a moment of quietude, yet the air around him feels heavy…
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A single gaze meets the viewer from the year 1820. Dmitry M. Mordvinov sits in a three-quarter view, his body angled toward the left while his eyes remain…
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A formal bust-length portrait of Major General Fyodor Vasilyevich Zvarykin, rendered in oil on canvas. The subject gazes directly at the viewer with a stoic, steady expression. He…
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The subject sits with a quiet, heavy dignity, his presence filling the space with the weight of command. He faces slightly toward the viewer's left, yet his gaze…
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In this oil on canvas, we encounter Fyodor F. d'Auvray, a man whose presence fills the frame with the quiet gravity of a long military career. He is…
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The air in the room feels heavy with the presence of Mikhail Mikhailovich Volkov, a man whose very posture commands silence. He sits at a slight angle, his…
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A single light source strikes from the upper left, carving the weathered features of Anton S. Chalikov out of a dark, atmospheric void. The light catches the sharp…
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Maxim Fyodorovich Stavitsky is rendered in a formal, bust-length composition, his gaze directed toward the observer from a slight angle. He wears the dark green uniform of a…
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The air in the room seems to thicken with the weight of command as Faddei F. Steingel meets the viewer's eyes. He sits in a moment of quiet…
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A single light source carves the face of Alexey G. Shcherbatov from a void of deep browns and blacks. His gaze is directed upward and toward the left,…
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A single gaze directed toward the upper right defines the presence of Nikolai N. Rayevsky. He sits in a three-quarter view, his chest rising from a dark military…
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A quiet authority fills the room as Mikhail S. Vorontsov meets the viewer's gaze. He sits in a moment of stillness, his expression calm yet heavy with the…
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A formal profile view captures the subject in a moment of quiet, stern dignity. The composition focuses on the upper torso and head, set against a textured, atmospheric…
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Matvey I. von der Pahlen sits before us, a man whose very presence commands the space around him. He is captured in a bust-length view, his body turned…
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This bust-length oil portrait depicts Fyodor F. Rosen, a man of middle age positioned slightly off-center. He is oriented toward the right of the frame, his gaze directed…
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The portrait depicts Pyotr A. Kosen, a man with curly hair and sideburns, presented in a medium close-up from the chest upward. He is positioned centrally against a…
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In this bust-length portrait, we encounter Grigory G. Engelhardt at a moment of quiet, heavy dignity. He is positioned slightly off-center, his gaze meeting the observer with a…
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Lieutenant General Yevgeny Ivanovich Markov is rendered in a bust-length composition that emphasizes the gravity of his station. He faces slightly to the right, yet his gaze is…
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A single gaze meets the observer from the shadows of 1823. Alexander E. Pyker sits centered in the frame, his presence defined by the sharp geometry of a…
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A steady, calm gaze meets the viewer from the shadows of 1823. Yegor I. Meller-Zakomelsky sits in a medium close-up, his presence defined by the quiet gravity of…
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The air in the room seems to thicken around the figure of Matvey I. Platov. He sits in a moment of quiet, heavy authority, his gaze meeting the…
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A single gaze meets the observer from 1822. Boris Kh. Richter sits in the quiet center of the frame, his presence anchored by the heavy, dark navy of…
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A single gaze meets the observer from the shadows of 1822. Pyotr K. Essen sits in a space of quiet, dark atmosphere, his presence defined by the sharp…
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In this 1823 oil portrait, we encounter Konstantin Kh. von Benckendorf, a man whose very presence commands the space around him. He is captured in a medium close-up,…
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In this formal, full-length portrait, we encounter Grand Prince Konstantin Pavlovich in a moment of quiet, authoritative dignity. The composition is strictly vertical, anchoring the figure against an…
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Vasily Mikhaylovich Lavrentyev is presented in full military regalia, a figure of quiet authority positioned within a grand, classical hall. The composition utilizes a vertical orientation to emphasize…
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The Portrait of Illarion V. Vasilchikov (1775/76-1847) (1st) is an oil portrait by the English artist George Dawe. Executed about 1822, the work identifies the subject as Illarion…
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Nikolai N. Khovansky is rendered in a formal, bust-length composition, his gaze directed slightly away from the viewer toward the right. He wears a dark navy military uniform,…
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In this 1822 oil portrait, we encounter Ivan F. Udom, a man whose presence is defined by the quiet weight of his station. The subject is captured in…
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A steady gaze meets the viewer from a face etched by time and duty. Mikhail A. Shkapsky sits in a quiet, dark space, his presence defined by the…
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A heavy red curtain hangs to the left, its deep folds absorbing the light. Beside it, a pale sky of yellow and blue stretches over a hazy, distant…
Заберите её домой →Четыре темы, которые чаще всего встречаются в этих шедеврах, с лучшими примерами каждой из них.
4 музеев, в которых находится большинство картин со страницы.
| Музей | Город | Работы Джордж Дау | Картины из этого списка |
|---|---|---|---|
 Государственный Эрмитаж |
Санкт-Петербург | 213 | Portrait of Emperor Alexander I, Portrait of Admiral Alexander S. Shishkov (1754-1841), Portrait of Arseny A. Zakrevsky (1783-1865) |
 Королевская коллекция |
Лондон | 9 | Charlotte (Alexandra Feodorovna), Empress of Russia, with her eldest children, Alexander and Maria, Leopold, Prince of Saxe-Coburg-Saalfeld, later Leopold I, King of the Belgians (1790-1865), Alexander I, Emperor of Russia (1777-1825) |
 Buckingham Palace |
Лондон | 2 | Edward, Duke of Kent (1767-1820), Ernst I (1784-1844), Duke of Saxe-Coburg-Gotah |
 Museum of New Zealand Te Papa Tongarewa |
Веллингтон | 2 | Achilles frantic for the loss of Patroclus, rejecting the consolation of Thetis, Portrait of Princess Charlotte of Wales |
A single figure occupies the space, leaning with a heavy, practiced grace against the cold cylinder of a bronze cannon. Edward, Duke of Kent, is rendered in the…
The Portrait of Emperor Alexander I is a significant work by the English portraitist George Dawe. Created about 1824, this full-length portrait captures the Russian Emperor, Alexander I,…
Portrait of Emperor Alexander I (1824), Государственный Эрмитаж, Санкт-Петербург. Далее следуют Portrait of Admiral Alexander S. Shishkov (1754-1841) (1826) и Portrait of Arseny A. Zakrevsky (1783-1865) (1820).
43 лет: Portrait of Emperor Alexander I датируется 1824 годом, а Джордж Дау родился в 1781.
Portrait of Emperor Alexander I, Portrait of Admiral Alexander S. Shishkov (1754-1841), Portrait of Arseny A. Zakrevsky (1783-1865), Portrait of Nikolai Sipyagin (1785-1828), Portrait of Grand Duke Nikolai Pavlovich, Portrait of Kirill A. Naryshkin (1786-1838), Portrait of Count Alexey Arakcheyev, Edward, Duke of Kent (1767-1820), Portrait of Grand Duchess Alexandra Fiodorovna with Children и Portrait of Empress Maria Feodorovna in Mourning. В рейтинге выше указаны год создания и музей для каждой работы.
В нашем каталоге представлено 233 работ Джордж Дау, созданных в период с 1803 по 1829.
Большинство из них находятся в Государственный Эрмитаж (Санкт-Петербург), Королевская коллекция (Лондон) и Buckingham Palace (Лондон). В таблице выше музеи перечислены по порядку.
За 1820s: 81 из 100 работ на этой странице относятся к этому периоду, в том числе Portrait of Emperor Alexander I.
Самая ранняя работа на этой странице датирована Achilles frantic for the loss of Patroclus, rejecting the consolation of Thetis (1803), самая поздняя — Portrait of Anton S. Chalikov (1754-1821) (1829).
Man (78), Military uniform (78) и Medals (59) из 100 работ на этой странице.
Oil On Canvas: 78 из 100 работ на этой странице.
Neoclassicism, как показывают картины на этой странице.
Portrait of Emperor Alexander I, Portrait of Admiral Alexander S. Shishkov (1754-1841) и Portrait of Arseny A. Zakrevsky (1783-1865) — одни из 83 работ на этой странице, хранящихся в Государственный Эрмитаж, Санкт-Петербург.
Да. Каждую картину на этой странице можно заказать как высококачественную масляную репродукцию ручной работы или художественную печать в выбранном вами размере на странице самой картины.
Джордж Дау по праву считается одним из самых значимых английских портретистов девятнадцатого века — человеком, чья кисть сумела уловить саму суть эпохи, отмеченной наполеоновскими войнами и имперским величием. Родившись в Сент-Джеймсе, Великобритания, Дау с ранних лет был погружен в мир искусства. Он был сыном Филипа Дау, прославленного мастера меццотинто, и вырос в семье, где художественный талант был общим наследием. Его раннее обучение проходило под пристальным взором отца, что позволило ему отточить мастерство гравюра, прежде чем его амбиции распространились на гораздо более масштабную и сияющую технику масляной живописи. Этот фундамент, заложенный в точной работе с линией и глубине тона, впоследствии воплотился в тщательной детализации его самых знаменитых полотен.
Его путь в академическом мире был отмечен выдающимися достижениями. После обучения в Королевской академии художеств, где он был удостоен престижной золотой медали Академических школ, репутация Дау начала стремительно расти. В конечном итоге он стал ассоциированным членом Королевской академии, а затем и полноправным академиком, что ознаменовало его вхождение в элиту британского художественного истеблишмента. Однако именно не в лондонских салонах Дау обрел свое самое непреходящее историческое влияние, а в самом сердце России.
В 1819 году Дау переехал в Санкт-Петербург — шаг, который коренным образом изменил ход его карьеры и всей истории искусства. В этой яркой имперской столице он оказался в центре монументального начинания: создания Военной галереи Зимнего дворца. В рамках этого амбициозного проекта Дау написал необычайную серию из 329 портретов русских генералов, принимавших участие в обороне страны во время нашествия Наполеона. Через эти работы Дау сделал нечто большее, чем просто запечатлел лица; он задокументировал героизм и психологическую тяжесть защиты своего отечества.
Его пребывание в России было встречено глубоким признанием. Он стал прославленной фигурой в российском художественном сообществе, заслужив похвалу, которая доходила даже до легендарного поэта Пушкина. Способность сочетать формальные требования портретного жанра с глубоким эмоциональным резонансом позволила ему передать сложные характеры военной элиты. Будь то величественное присутствие Дмитрия Витебского Голицына или интроспективный, почти пугающий взгляд Михаила Кутузова, работы Дау служили жизненно важным историческим свидетельством важнейших фигур той эпохи.
Художественный стиль Дау представлял собой изысканное полотно, сотканное из различных влияний. Раннее мастерство в гравюре дало ему беспрецедентное понимании света, тени и формы, которое он с поразительным умением перенес в свои масляные картины. Во многих отношениях его творчество можно рассматривать сквозь призму как неоклассицизма, так и романтизма:
В конечном счете, значимость Джорджа Дау заключается в его способности выйти за рамки простого сходства. Он был художником, способным передать груз ответственности на плечах генерала и мимолетную природу славы через один-единственный, тщательно прописанный взгляд. Его жизнь и творчество остаются мостом между дисциплинированными традициями английской академии и эпической, бурной историей Российской империи.
