1
One of Charles II's Bishops in Ecclesiastical Robes
Rukom oslikana uljana reprodukcija od $181 27 × 37 cm
Najpoznatije delo umetnika Robert White je One of Charles II's Bishops in Ecclesiastical Robes (1675), koje se nalazi u muzeju Yale Center for British Art, New Haven. Naš katalog sadrži 1 dela umetnika Robert White; ovih 1 ispod su dela koja svet najčešće posmatra, svako sa navedenom godinom nastanka, muzejom u kojem se čuva i razlogom zašto je značajno.
Rangirano prema našem koeficijentu popularnosti, koji kombinuje pretrage, posete i porudžbine za svako delo. Ažurirano новембар 2026. Svako remek-delo na ovoj stranici može se naručiti kao ručno oslikana uljana reprodukcija muzejskog kvaliteta ili kao umetnička štampa, u dimenzijama koje odaberete.
1 muzeja u kojima se nalazi najviše slika sa ove stranice.
| Muzeji | Grad | Radovi umetnika Robert White | Slike iz ovog spiska |
|---|---|---|---|
 Yale Center for British Art |
New Haven | 1 | One of Charles II's Bishops in Ecclesiastical Robes |
Sva datirana dela umetnika Robert White na ovoj stranici potiču iz 1675 godine: evo najpoznatijih od njih.
One of Charles II's Bishops in Ecclesiastical Robes (1675)
30 godina: One of Charles II's Bishops in Ecclesiastical Robes datira iz 1675, a Robert White je rođen/a 1645.
Naš katalog sadrži 1 dela umetnika Robert White.
Većina njih se nalazi u Yale Center for British Art (New Haven). U tabeli iznad su muzeji navedeni jedan po jedan.
Da. Svaku sliku sa ove stranice možete naručiti kao ručno oslikano ulje na platnu muzejskog kvaliteta ili kao umetnički print, u veličini koju odaberete, direktno sa stranice te slike.
London, 1645. A child is born into a city on the cusp of profound transformation. Robert White grows up in this atmosphere, eventually finding his way into the workshop of David Loggan. This apprenticeship is the defining moment of his early life. Under Loggan, White learns the exacting discipline of the line engraver, a craft that demands absolute control over the copper plate. He does not merely copy; he inherits a position of influence within the print trade, a role that will define his entire career.
White develops a signature method that distinguishes his hand from his contemporaries. He moves away from the heavy reliance on existing paintings, often choosing to draw his subjects himself. He works in pencil—specifically black lead—on vellum. This choice of medium allows for a delicate, almost ethereal precision. He captures the likeness of the era's most prominent figures, often working directly from life to ensure the integrity of the portrait.
His output is massive, a vast collection of plates that functions as a visual census of late seventeenth-century English society. He moves between the intimate study of a single face and the complex arrangement of political groups. His copper plates serve various masters, from private collectors to the publishers of significant historical volumes.
The sheer scale of his work is difficult to quantify. He engraves from the paintings of Lely, Kneller, and Riley, but his most enduring contributions come from his own drawings. He is a man of the book, providing frontispieces, book-plates, and architectural views that populate the libraries of the elite. His son, George White, follows in these footsteps, continuing the family's engagement with the engraver's art.
The trajectory of White's life takes a sharp turn toward the end. The man who once captured the likenesses of dukes and princes finds himself in reduced circumstances. By the time he reaches Bloomsbury Market, the prosperity of his middle years has faded. He resides there for a long time, a quiet figure in a bustling district, until his death in November 1703.
His legacy remains etched in the copper and vellum he left behind. He was a technician of the highest order, a man who translated the physical presence of his contemporaries into the permanent, reproducible language of the print. Through his work, the faces of the seventeenth century remain fixed, preserved by the steady hand of a London draughtsman.