使 亨利·辛格尔顿 声名鹊起的画作是 James Massy-Dawson (?) (1795)；它现收藏于 华盛顿 的 国家美术馆。 The Vicar of the Parish Receiving His Tithes (1792) 与 The Storming of the Bastille, July 14, 1789 (1789) 在收藏家和博物馆参观者心中紧随其后。 在 亨利·辛格尔顿 的 34 件作品中，这 33 件是最受推崇的杰作，每件作品均附有创作日期、馆藏机构及其独特之处。
排名依据为我们的热度评分，该评分综合了每件作品的搜索量、访问量及订单量。更新于 November 2026。 本页面的每一件杰作均可根据您选择的尺寸，定制为博物馆级手工油画复制品或艺术微喷画。
A Study in Chiaroscuro A single male figure emerges from an undifferentiated black background, his profile illuminated by a sharp, directional light source from the upper left. This high-contrast technique focuses attention entirely on the subject's features and the textures of his attire. The palette remains restrained, relying on shades of cream, white, sepia, and deep blacks to build form. Soft, blended brushwork defines the skin and the powdered wig,…
In a dimly lit interior, a seated man in a powdered wig and dark attire focuses on a small wooden desk. He writes with a quill, his profile caught in a soft, natural light that filters from a background window. Facing him is a woman in period dress, her wide-brimmed straw hat and white gown contrasting against a dark bodice. Beside her, a young boy holds a basket, his gaze…
The composition centers on the chaotic surge of a crowd against the dark, imposing silhouette of the Bastille fortress. Under a turbulent night sky, the scene captures the immediate violence of the French Revolution. Figures in the foreground are locked in a struggle, their forms expressing a spectrum of human response: grief, aggression, and sheer exhaustion. The lighting is theatrical, appearing to emanate from within the crowd itself, casting high-contrast…
The air in the grand hall feels heavy with the weight of ceremony. Light spills from the front left, cutting through the dimness to illuminate the central figures of this momentous occasion. The Prince of Wales, later George IV, stands at the heart of a crowded, theatrical assembly, surrounded by a semi-circle of aristocratic witnesses. Every eye and every line of composition pulls the viewer toward the center, where the…
The Marriage of the Duke and Duchess of York is a large-scale historical group portrait by Henry Singleton. Executed about 1791, the work captures a significant ceremonial event through a formal Neoclassical lens. The composition centers on the Duke and Duchess of York, positioned amidst a gathering of high-ranking officials, clergy, and guests.
In this historical oil painting, Henry Singleton captures a pivotal moment of the French Revolution. Created about 1790, the work depicts the Storming of the Bastille, a scene defined by intense civil unrest. The canvas presents a chaotic and violent atmosphere, pulling the viewer into the immediate friction of the uprising.
The Wandering Sailor is a genre painting by Henry Singleton, dating to 1798. The work captures a quiet, domestic moment involving three figures: a man, a woman, and a child. They gather closely, their attention fixed upon a single piece of fabric or paper held between them. This small, shared focus anchors the scene in a sense of immediate, private connection.
The painting Manto and Tiresias by Henry Singleton captures a quiet meeting between a father and daughter. First exhibited in 1792, the work centers on the mythological figures of Thebes. Manto, the daughter of the prophet Tiresias, stands beside him in a space defined by shadow. They exist together in a moment of shared presence, caught between the seen and the unseen.
The Second Viscount Maynard is a portrait by the English artist Henry Singleton, executed about 1794. The sitter is Charles Maynard, 2nd Viscount Maynard, who succeeded to the title in 1775. Singleton, born in London in 1766, was a prolific figure within the Royal Academy, exhibiting nearly 300 works throughout a career that spanned from the late 18th century until his death in 1839.
is a work by Henry Singleton, executed in 1792. The composition draws its narrative from the poem The Seasons, specifically illustrating a scene of pastoral interaction. The figures are set within a tranquil landscape, featuring a meandering river and a distant village.
James Boswell and his Family is a group portrait painted by Henry Singleton about 1786. The work depicts the family of Margaret Boswell, capturing the subjects in a…
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The subject stands upon a shoreline, a figure of quiet authority framed by the vastness of the sea. He is dressed in the heavy, structured uniform of a…
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This oil on canvas portrait depicts Richard Howe, 1st Earl Howe. The work was executed by the artist Henry Singleton in 1795. The subject of the painting was…
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An Officer of Light Dragoons Taking Leave of His Wife is a historical scene painted by Henry Singleton about 1795. The composition centers on a man dressed in…
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In this 1793 portrait, we encounter Thomas Sandby in a moment of quiet introspection. The subject is captured in a three-quarter view, his gaze directed downward as if…
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We are looking at The Surrender of the Two Sons of Tipu Sahib, Sultan of Mysore, to Sir David Baird, an oil painting by the English artist Henry…
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The Last Effort and Fall of Tippoo Sultan is a history painting by the British artist Henry Singleton. Created about 1800, the work captures a specific, high-stakes moment…
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In this 1812 portrait, Henry Singleton captures a moment of quiet familial intimacy within the upper echelons of British society. The composition centers on Sir Thomas Dyke Acland,…
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Ariel on a Bat's Back is a work by the English painter Henry Singleton. Created about 1819, this piece belongs to a series of cabinet pictures the artist…
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A man stares directly at the viewer, his gaze steady and neutral. He is rendered with a realism that emphasizes the specific textures of his era, from the…
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In the heart of a shadowed, primordial woodland, where the veil between the mortal and the divine grows thin, lies the breathtaking scene of LA FORET HANTEE THE…
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Henry Singleton’s “Les Deux Riviaux,” a captivating oil painting from the late 18th or early 19th century, transcends mere portraiture to become a poignant meditation on romantic tension…
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The painting Flora by Henry Singleton is a beautiful example of 18th-century art. Created in 1790, this oil on panel piece measures 31 x 24 cm and is…
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约翰·富勒（Henry Singleton，1766年10月19日－1839年9月15日）是一位杰出的英国画家和肖像画家，以其对人物肖像的精湛技艺和对历史场景的细腻描绘而闻名于当时。他的作品不仅展现了艺术家的卓越天赋，也反映了时代精神与审美情趣，至今仍被广泛欣赏和研究。
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#7 The Wandering Sailor
#9 The Second Viscount Maynard
#16 The Surrender of the Two Sons of Tipu Sahib, Sultan of Mysore, to Sir David Baird
#17 The Last Effort and Fall of Tippoo Sultan
#18 Sir Thomas Dyke Acland (1787–1871), 10th Bt, MP, His Wife Lydia Elizabeth Hoare (1786–1856), and Their Son, Later Sir Thomas Dyke Acland (1809–1898), 11th Bt
这些杰作中最常出现的四个主题，以及各主题的最佳代表作。
收藏了本页中大部分画作的 8 家博物馆。
| 博物馆 | 城市 | 亨利·辛格尔顿 的作品 | 此列表中的画作 |
|---|---|---|---|
 耶鲁英国艺术中心 |
纽黑文 | 2 | The Wandering Sailor, The Surrender of the Two Sons of Tipu Sahib, Sultan of Mysore, to Sir David Baird |
 National Trust |
埃克塞特 | 2 | Sir Thomas Dyke Acland (1787–1871), 10th Bt, MP, His Wife Lydia Elizabeth Hoare (1786–1856), and Their Son, Later Sir Thomas Dyke Acland (1809–1898), 11th Bt, The Pastor's Fireside The family of Sir Thomas Acland, 10th Bt, Being Read to by the Vicar of Silverton |
 卢浮宫 |
巴黎 | 2 | LA FORET HANTEE THE HAUNTED GROVE, FROM BOCCACE, LES DEUX RIVAUX |
 国家美术馆 |
华盛顿 | 1 | James Massy-Dawson (?) |
 施泰德美术馆 |
法兰克福 | 1 | The Vicar of the Parish Receiving His Tithes |
 卡纳瓦勒博物馆 |
巴黎 | 1 | The Storming of the Bastille, July 14, 1789 |
 皇家收藏馆 |
伦敦 | 1 | The Marriage of George IV (1762-1830) when Prince of Wales |
 明尼阿波利斯艺术学院 |
明尼阿波利斯 | 1 | The Marriage of the Duke and Duchess of York |
The composition centers on the chaotic surge of a crowd against the dark, imposing silhouette of the Bastille fortress. Under a turbulent night sky, the scene captures the…
A Study in Chiaroscuro A single male figure emerges from an undifferentiated black background, his profile illuminated by a sharp, directional light source from the upper left. This…
We are looking at The Surrender of the Two Sons of Tipu Sahib, Sultan of Mysore, to Sir David Baird, an oil painting by the English artist Henry…
In this 1812 portrait, Henry Singleton captures a moment of quiet familial intimacy within the upper echelons of British society. The composition centers on Sir Thomas Dyke Acland,…
A man stares directly at the viewer, his gaze steady and neutral. He is rendered with a realism that emphasizes the specific textures of his era, from the…
James Massy-Dawson (?) (1795)，国家美术馆, 华盛顿。紧随其后的是The Vicar of the Parish Receiving His Tithes (1792)和The Storming of the Bastille, July 14, 1789 (1789)。
29岁：James Massy-Dawson (?)创作于1795，亨利·辛格尔顿出生于1766。
James Massy-Dawson (?), The Vicar of the Parish Receiving His Tithes, The Storming of the Bastille, July 14, 1789, The Marriage of George IV (1762-1830) when Prince of Wales, The Marriage of the Duke and Duchess of York, The Storming of the Bastille, The Wandering Sailor, Manto and Tiresias, The Second Viscount Maynard 及 Palemon and Lavinia。上方排名列出了每件作品的创作年份及所属博物馆。
我们的目录收录了 亨利·辛格尔顿 的 34 件作品，创作时间从 1786 年至 1823 年。
其中大部分藏于 耶鲁英国艺术中心 (纽黑文), National Trust (埃克塞特) 及 卢浮宫 (巴黎)。上表逐一列出了这些博物馆。
在 1790s 期间：本页 33 件作品中有 14 件创作于该时期，其中包含 James Massy-Dawson (?)。
本页最早的作品创作于 James Boswell and his Family (1786)，最晚于 John Linnell Bond (1764–1837) (1823)。
在本文页面的 33 件作品中，共有 Man (14), Woman (9) 及 People (5) 件 Man (14), Woman (9) 及 People (5)
Oil On Canvas：本页 33 件作品中的第 14 件
The Wandering Sailor 及 The Surrender of the Two Sons of Tipu Sahib, Sultan of Mysore, to Sir David Baird 是该页面中由 耶鲁英国艺术中心, 纽黑文 收藏的 2 件作品之一。
是的。本页面的每一幅画作均可在画作详情页中，根据您选择的尺寸，定制为博物馆级手工油画复制品或艺术精美版画。
1766年，亨利·辛格尔顿（Henry Singleton）出生于伦敦那片充满生机的艺术织锦之中，自那时起，他的生命便注定由画笔与调色盘所定义。他的早年岁月深受家族深厚艺术底蕴的影响；在襁褓时期便不幸失去了父亲，于是辛格尔顿在叔叔威廉·辛格尔顿的悉心照料下成长。这份教导不仅带来了家庭的稳定，更让他承袭了英国微型画这一显赫传统的血脉——他曾师从名家奥兹亚斯·汉弗里（Ozias Humphry）。在这样一个艺术即是通用语言的环境中长大，身边环绕着皆为皇家艺术学院认可展出者的叔辈与姐妹，辛格远的发展过程，便是一场继承家族技艺与激发个人天赋的自然演进。
步入青年时期，辛格尔顿在作品尺度与题材掌控上展现出了惊人的早熟。他在皇家艺术学院学校接受了正式教育，青少年晚期便已崭露头角，并于1784年斩获银奖，标志着这位杰出天才的正式登场。他早期学术认可的巅峰出现在1788年，当时他凭借描绘约翰·德莱顿《亚历山大的盛宴》的宏伟画作，荣获了备受瞩目的金奖。这一成就凸显了他职业生涯中的一个重要阶段：他试图超越微型画细腻局促的限制，去挑战宏大且气势磅礴的历史与圣经题材创作。凭借着从《圣经》、莎士比亚作品及当代历史中编织复杂叙事的能力，他成功地在那个时代最显赫的艺术机构所要求的巨幅画布上赢得了广泛关注。
尽管早期的抱负倾向于宏大叙事，但辛格尔顿的职业历程却以卓越的多样性为特征，这确保了他在竞争激烈的伦敦艺术界长盛不衰。他成为了皇家艺术学院的常客，在1784年至1839年间展出了约300件作品。在他传奇的职业生涯中蕴含着一种令人唏嘘的讽刺：尽管1793年他受皇家艺术学院委托，创作一幅包含四十位院士的大型群像肖像，但他本人从未获得正式的院士或准院士身份。然而，他的存在是如此持久，技艺是如此受人尊敬，以至于他最终成为了皇家艺术学院最长寿的在世参展者，这正是他一生对艺术事业不懈奉献的明证。
他的创作领域既丰富多样又技法精湛，涵盖了多种截然不同的绘画模式：
除了皇家艺术学院，辛格尔顿的影响力还延伸至大英艺术机构（British Institution）和英国艺术家协会（Society of British Artists），确保了他的作品能够触达广泛的收藏家与鉴赏家群体。1839年，他的生命在伦敦画上了句号，但他留下的艺术瑰宝成为了窥探18世纪末至19世纪初审美价值的重要窗口。通过他的肖像与历史场景，辛格尔顿捕捉到的不仅是同时代人的面容，更是那个由古典宏伟感与微型画亲密之美共同定义的时代精神。
