Slika, ki je prinesla slavo umetniku A. Patrick, je Mrs. Benajah Johnson (1830); razpostaja v muzeju Smithsonian American Art Museum, Washington, D.C.. Od 2 del umetnika A. Patrick v našem katalogu so teh 2 najbolj občudovalnih, od katerih je vsak predstavljen z letnico nastanka, muzejem in tistim, kar ga loči od drugih.
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1 muzejev, ki vsebujo največ slik na tej strani.
| Muzej | Mesto | Sloga A. Patrick | Slike iz tega seznama |
|---|---|---|---|
 Smithsonian American Art Museum |
Washington, D.C. | 2 | Mrs. Benajah Johnson, Benajah Johnson |
Vsako datirano vrhunsko delo umetnika A. Patrick na tej strani pripada letu 1830: tukaj so.
Mrs. Benajah Johnson (1830)
V našem katalogu je na voljo 2 del avtorja A. Patrick.
Večina njih se nahaja v Smithsonian American Art Museum (Washington, D.C.). Zgornja tabela navaja muzeje posamezno.
V obdobju 1830: 2 od 2 del na tej strani izvira iz tega obdobja, med katerimi je Mrs. Benajah Johnson.
Mrs. Benajah Johnson in Benajah Johnson so med 2 dela na tej strani, ki jih hrani Smithsonian American Art Museum, Washington, D.C..
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.
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:
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.