Slika koja je proslavila A. Patrick je Mrs. Benajah Johnson (1830); nalazi se u muzeju Smithsonian American Art Museum, Vašington, D.C.. Od 2 dela umetnika A. Patrick u našem katalogu, ovih 2 su najcenjenija, a svako je predstavljeno sa datumom nastanka, muzejom i onim što ga izdvaja.
Rangirano prema našem koeficijentu popularnosti, koji kombinuje pretrage, posete i porudžbine za svako delo. Ažurirano октобар 2026.
1 muzeja u kojima se nalazi najviše slika sa ove stranice.
| Muzej | Grad | Radovi umetnika A. Patrick | Slike iz ovog spiska |
|---|---|---|---|
 Smithsonian American Art Museum |
Vašington, D.C. | 2 | Mrs. Benajah Johnson, Benajah Johnson |
Svako datirano remek-delo umetnika A. Patrick na ovoj stranici pripada godini 1830: evo ih.
Mrs. Benajah Johnson (1830)
Naš katalog sadrži 2 dela umetnika A. Patrick.
Većina njih se nalazi u Smithsonian American Art Museum (Vašington, D.C.). U tabeli iznad su muzeji navedeni jedan po jedan.
U periodima 1830: 2 od ukupno 2 dela na ovoj stranici datiraju iz tog vremena, od čega je Mrs. Benajah Johnson.
Mrs. Benajah Johnson i Benajah Johnson su među 2 dela na ovoj stranici koja se nalaze u Smithsonian American Art Museum, Vašington, 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.