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Solitude
Hand-painted oil reproduction from $181 39 × 26 cm
Same size as the original $1219 236 × 151 cm Order at original size →
Robert Barrett Browning ismini duyuran tablo Solitude (1879) eseridir; bu eser Boston, Museum of Fine Arts bünyesinde sergilenmektedir. Katalogumuzdaki Robert Barrett Browning imzalı 2 eser arasından en çok beğenilen bu 2 eser; yapıldığı tarih, sergilendiği müze ve onu eşsiz kılan özellikleriyle birlikte sunulmuştur.
Her bir eser için yapılan aramalar, ziyaretler ve siparişlerin birleşimiyle oluşturulan popülerlik puanımıza göre sıralanmıştır. Ekim 2026 tarihinde güncellenmiştir. Bu sayfadaki her bir şaheser, seçtiğiniz boyutta müze kalitesinde, el yapımı yağlı boya reprodüksiyon veya sanat baskısı olarak sipariş edilebilir.
Bu sayfadaki tabloların en büyük kısmına ev sahipliği yapan müze.
| Müze | Şehir | Robert Barrett Browning Eserleri | Bu listedeki tablolar |
|---|---|---|---|
 Museum of Fine Arts |
Boston | 1 | Solitude |
1879 ile 1887 yılları arasındaki on yıllık resim serüveni, Robert Barrett Browning için her şey demekti: işte yıl yıl başyapıtları.
Solitude (1879)
30 yaşında: Solitude 1879 yılına aittir ve Robert Barrett Browning 1849 yılında doğmuştur.
Kataloğumuz, Robert Barrett Browning tarafından 1879 ile 1887 tarihleri arasında üretilen 2 eseri listelemektedir.
Çoğu Museum of Fine Arts (Boston) bünyesinde bulunmaktadır. Yukarıdaki tablo müzeleri tek tek listelemektedir.
Bu sayfadaki en eski eser Solitude (1879), en yeni eser ise Before the Mirror (1887)'dir.
Evet. Bu sayfadaki her tablo, tablonun kendi sayfasından seçtiğiniz boyutta, müze kalitesinde, el yapımı bir yağlı boya reprodüksiyon veya bir sanat baskısı olarak sipariş edilebilir.
The air in Casa Guidi, Florence, carries the weight of a specific morning on 9 March 1849. Robert Wiedeman Barrett Browning arrives as a robust, rosy child, the long-awaited son of Elizabeth Barrett Browning and Robert Browning. His very name, often shortened to Pen, stems from a childhood struggle to pronounce his middle name, Wiedeman. He grows up in an environment saturated with literature and art, moving between Florence, Siena, and Rome. His early years are defined by the intimate education provided by his parents, where even his clothing—velvet frocks and lace—is carefully curated by his mother.
A sudden shift occurs in 1861. The death of Elizabeth Barrett Browning forces a departure from the Italian life he knew. He moves to London, where his father attempts to steer him toward academic rigor at Christ Church College, Oxford. The intellectual demands of the university do not take hold. Instead, a different path emerges through the suggestion of John Everett Millais. This redirection leads him away from the lecture hall and toward the studios of Paris and Antwerp.
In the studios of Europe, the boy becomes a practitioner. He studies under Auguste Rodin in Paris and Jean-Arnould Heyermans in Antwerp. His focus settles on the human form, specifically the female nude. This choice brings him into tension with the social expectations of Victorian England. While he exhibits at the Royal Academy of Arts, the Grosvenor Gallery, and the Paris Salon, his preference for voluptuous subjects often sits at odds with more prudish sensibilities.
His work manifests in various media:
By 1887, he marries Fannie Coddington, an American heiress. Together, they undertake the restoration of Ca' Rezzonico, a Baroque palace on the Grand Canal in Venice. The palace becomes a central setting for his later life, housing both his art and his family's history.
The momentum of his professional career slows as his eyesight begins to fail. He retreats from the competitive art markets of London and Paris, returning to painting for personal pleasure rather than public sale. His later years are spent in the quietude of Asolo and Venice. He maintains a connection to his roots, caring for his aunt, Sarianna Browning, and preserving the legacy of his parents' manuscripts.
The end comes in Venice. A heart attack on 8 July 1912 brings a conclusion to a life lived largely within the shadow of great literary figures, yet defined by his own tactile engagement with clay and pigment. He is eventually laid to rest in the Protestant Cemetery in Florence, reunited with the mother whose letters once documented his every milestone.