Opdateret november 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 1 værker af A. Reddock i vores katalog
Kort sagt
Det mest kendte maleri af A. Reddock er Andrew Meikle (1811), som du kan se på National Portrait Gallery i London. Ud af 1 værker af A. Reddock i vores katalog er disse 1 de mest kendte. Hvert værk er ledsaget af årstal, museum og en kort note om, hvad der gør det bemærkelsesværdigt.
Det museum, der rummer flest af malerierne på denne side.
| Museum | By | Værker af A. Reddock | Malerier fra denne liste |
|---|---|---|---|
 National Portrait Gallery |
London | 1 | Andrew Meikle |
1811 er det år, hvor alle daterede værker af A. Reddock på denne side blev skabt. Her er de, med de mest berømte først.
Vælg et årstal for at se værkerne fra det år.
Øverst på listen står Andrew Meikle (1811).
37 år gammel. A. Reddock blev født i 1774, og Andrew Meikle er fra 1811.
Vi har 1 værker af A. Reddock i vores katalog.
Du finder de fleste af dem i National Portrait Gallery (London). Listen over museer ovenfor giver en fuldstændig oversigt.
Ja. Hvert maleri på denne side er tilgængeligt som en håndmalet oliereproduktion eller som et print i den størrelse, der passer dig. Åbn blot maleriets side for at bestille.
In the quiet corners of the Scottish landscape during the late eighteenth and early nineteenth centuries, the brush of A. Reddock moved to capture the likenesses of a changing era. Born in 1774, this painter emerged from a time when the dignity of the individual was increasingly sought through the medium of oil and canvas. Reddock, often associated with the town of Falkirk, dedicated his life to the art of the portrait, seeking to fix the character of his subjects upon the surface of the work.
His life was one of quiet observation. While the world around him underwent the tremors of industrial and social shifts, Reddock focused his gaze upon the faces of those who shaped the era. His work was not merely about the likeness of a person, but about the presence they held in the room. Through his hands, the fleeting essence of a sitter was rendered into something permanent.
The records of his skill are found in the portraits he left behind, some of which have been preserved within the halls of Glasgow Life Museums. One such work, a portrait of Andrew Meikle, reveals the artist's ability to document the men of his time. Meikle, an engineer credited with the invention of the threshing machine, was captured by Reddock's hand, linking the artist to the very spirit of Scottish innovation. In such works, we see the intersection of art and history, where the painter records the faces of those who altered the course of industry.
Reddock's technical approach was rooted in the traditions of his station. He worked with a focus on the essential features that defined a person's status and character. His ability to render the likeness of figures like Lady Hannah Anne Gardiner Maxwell suggests a painter who understood the nuances of social standing and the subtle play of light upon a subject's countenance. He remained active in his craft until his passing in 1842, leaving behind a body of work that serves as a window into the Scottish social fabric of the early nineteenth century.
