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One of Charles II's Bishops in Ecclesiastical Robes
El boyaması yağlı boya reprodüksiyon fiyatları $181 27 × 37 cm
Robert White'in en ünlü eseri, New Haven, Yale Center for British Art bünyesinde yer alan One of Charles II's Bishops in Ecclesiastical Robes (1675)'dir. Kataloğumuz Robert White tarafından üretilen 1 eseri listelemektedir; aşağıda yer alan 1 eser ise dünyanın en çok ilgi gösterdiği, her biri yapıldığı yıl, sergilendiği müze ve önemine dair bilgilerle birlikte sunulan seçkin parçalardır.
Her bir eser için yapılan aramalar, ziyaretler ve siparişlerin birleşimiyle oluşturulan popülerlik puanımıza göre sıralanmıştır. Kasım 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 White Eserleri | Bu listedeki tablolar |
|---|---|---|---|
 Yale Center for British Art |
New Haven | 1 | One of Charles II's Bishops in Ecclesiastical Robes |
Robert White tarafından 1675 yılında yapılmış olan bu sayfadaki tüm eserlerin en ünlüları şunlardır:
One of Charles II's Bishops in Ecclesiastical Robes (1675)
30 yaşında: One of Charles II's Bishops in Ecclesiastical Robes 1675 yılına aittir ve Robert White 1645 yılında doğmuştur.
Kataloğumuz Robert White tarafından yapılmış 1 eseri listelemektedir.
Çoğu Yale Center for British Art (New Haven) bünyesinde bulunmaktadır. Yukarıdaki tablo müzeleri tek tek listelemektedir.
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.
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.