Opdateret november 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 16 værker af Robert Field i vores katalog
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Det mest kendte maleri af Robert Field er Thomas Williams, of Annapolis (1800), som du kan se på Smithsonian American Art Museum i Washington, D.C.. Lige efter følger Samuel Love, Jr. (1800) og William Thornton (1800). Ud af 16 værker af Robert Field i vores katalog er disse 12 de mest kendte. Hvert værk er ledsaget af årstal, museum og en kort note om, hvad der gør det bemærkelsesværdigt.
The face of Thomas Williams emerges from a pale, luminous ground, captured in the delicate medium of watercolor on ivory. He is a man in his thirties, caught in a moment of quiet composure. A dark, charcoal-colored coat anchors the composition, contrasting sharply against the crisp white of his cravat and the soft, powdered texture of his hair. To the upper left, a wash of reddish-pink drapery hangs like a…
This portrait miniature, executed in 1800, presents a bust-length view of Samuel Love, Jr. within an oval frame. The subject is a man with dark hair and brown eyes, rendered with a composed, neutral expression. He is positioned in a direct, eye-level perspective, looking toward the viewer. His attire consists of a deep navy blue outer coat, a pale buttery yellow waistcoat, and a crisp white cravat. The lighting originates…
The subject gazes out from an oval frame, his presence immediate and steady. He sits in a moment of quiet composure, his body turned slightly while his eyes meet the viewer with a sense of dignified stillness. A soft light brushes across the left side of his face, carving out the gentle contours of his cheek and the bridge of his nose, while the right side recedes into a soft,…
The gaze of Charles Goldsborough meets the viewer from a moment frozen in 1802. This portrait captures the Maryland statesman in a quiet, dignified presence. He appears as a man of significant standing, his features rendered with a precision that suggests a life of public duty and private resolve. The likeness holds a certain stillness, as if he has just paused in his thoughts to acknowledge an observer.
This miniature portrait, executed in 1804, depicts Sarah Louisa Jenkins, the daughter of the Baltimore merchant Michael Jenkins. The work is a small-scale composition, measuring 8 x 7 cm, presented within an oval frame that characterizes the miniature style of the era. The sitter is shown seated against a dark, indistinct background, which serves to emphasize her presence. Her features and the delicate lace edging of her shawl are rendered…
This miniature portrait, dating from 1800, presents a lady in a three-quarter view, focusing on her head and shoulders within an oval frame. The subject is captured with a direct gaze toward the viewer, conveying a sense of confidence and composure. She is dressed in a white gown featuring flowing sleeves and a decorative headdress, attire that suggests a high social status. The composition is tightly framed, set against an…
This miniature portrait, executed in 1804, depicts Robert Stuart, a resident of Baltimore. The composition is a tight study of the subject's head and shoulders, presented within an oval-shaped metal frame. A small loop at the top of the frame indicates the piece was designed to be worn as jewelry or kept within a locket. The subject faces the viewer directly in a frontal perspective. He is dressed in a…
In this 1810 oil portrait, we encounter Charles Inglis, a man whose presence commands a quiet, scholarly respect. He is presented in a three-quarter length view, seated with a composed posture that suggests both authority and introspection. The composition draws the eye immediately to the stark contrast between his dark, heavy clerical gown and the luminous white of his powdered wig and lace cuffs. There is a deliberate weight to…
Robert Field produced this portrait of George Washington in 1800. The work emerged from a commission by Martha Washington, who requested two distinct groups of miniatures in late 1800. These sets were intended as mementoes for family and friends to commemorate the first president of the United States.
A man gazes outward from a quiet, oval window. He is captured in profile, his silhouette cutting a steady line against a pale, neutral void. The light catches the edge of a high collar and the dark fabric of a coat, grounding him in the gravity of the late 18th century. There is a stillness here, the kind found in a room where the air has settled. He does not…
De fire motiver, der optræder hyppigst i disse værker, hver med sit mest kendte eksempel.
De 4 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Robert Field | Malerier fra denne liste |
|---|---|---|---|
 Metropolitan Museum of Art |
New York | 6 | Charles Goldsborough, Sarah Louisa Jenkins, Portrait of a Lady |
 Smithsonian American Art Museum |
Washington, D.C. | 3 | Thomas Williams, of Annapolis, Samuel Love, Jr., William Thornton |
 National Portrait Gallery |
London | 1 | Charles Inglis |
 Nationalmuseum |
Stockholm | 1 | Robert Gilmor Sr. |
Vælg et årti for at se dets mest fremtrædende værk.
A man gazes outward from a quiet, oval window. He is captured in profile, his silhouette cutting a steady line against a pale, neutral void. The light catches the edge of a high collar and the dark fabric of a coat, grounding him in the gravity of the late 18th century. There is a stillness here, the kind found in a room where the air has settled. He does not…
The face of Thomas Williams emerges from a pale, luminous ground, captured in the delicate medium of watercolor on ivory. He is a man in his thirties, caught in a moment of quiet composure. A dark, charcoal-colored coat anchors the composition, contrasting sharply against the crisp white of his cravat and the soft, powdered texture of his hair. To the upper left, a wash of reddish-pink drapery hangs like a…
In this 1810 oil portrait, we encounter Charles Inglis, a man whose presence commands a quiet, scholarly respect. He is presented in a three-quarter length view, seated with a composed posture that suggests both authority and introspection. The composition draws the eye immediately to the stark contrast between his dark, heavy clerical gown and the luminous white of his powdered wig and lace cuffs. There is a deliberate weight to…
Øverst på listen er Thomas Williams, of Annapolis (1800), Smithsonian American Art Museum, Washington, D.C.. Lige efter kommer: Samuel Love, Jr. (1800) og William Thornton (1800).
31 år gammel. Robert Field blev født i 1769, og Thomas Williams, of Annapolis er fra 1800.
Thomas Williams, of Annapolis, Samuel Love, Jr., William Thornton, Charles Goldsborough, Sarah Louisa Jenkins, Portrait of a Lady, Robert Stuart, Charles Inglis, George Washington og Sharp Delany. Du finder årstallet og museet for hver af dem i listen ovenfor.
Vi har 16 værker af Robert Field i vores katalog, dateret fra 1799 til 1810.
Du finder de fleste af dem i Metropolitan Museum of Art (New York), Smithsonian American Art Museum (Washington, D.C.) og National Portrait Gallery (London). Listen over museer ovenfor giver en fuldstændig oversigt.
I 1800s, mere end på andre tidspunkter: 10 af de 12 værker på denne side stammer fra dengang, herunder Thomas Williams, of Annapolis.
Det tidligste værk her er Sharp Delany (1799); det nyeste er Charles Inglis (1810).
Man (10), Portrait (5) og Oval frame (3) ud af i alt 12 værker på denne side.
Watercolor, anvendt i 10 af de 12 værker på denne side.
Du kan se 6 af værkerne på denne side på Metropolitan Museum of Art, New York, herunder Charles Goldsborough, Sarah Louisa Jenkins og Portrait of a Lady.
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.
Robert Field (1769-1819) stands as a pivotal, yet often overlooked, figure in the history of early American art. More than just a portraitist, he was a meticulous craftsman and keen observer of his time, capturing the essence of 19th-century society with an understated elegance that belies the profound impact of his work. Born in Gloucestershire, England, Field’s journey to North America and subsequent career as a miniaturist in both the United States and Nova Scotia reveals a fascinating blend of European artistic training and distinctly American sensibilities.
Field's early life remains somewhat shrouded in mystery, though it is known he received his initial artistic education at the Royal Academy schools in London. This foundation provided him with the technical skills – particularly in drawing and composition – that would later inform his miniature portraits. His relocation to Philadelphia in 1794 marked a significant turning point. The burgeoning city offered a vibrant cultural landscape, fueled by the ideals of the new republic and a growing demand for portraiture. It was here that Field began to establish himself as a respected artist, quickly gaining commissions from prominent figures – merchants, politicians, and members of the elite social circles that defined Philadelphia’s life.
Field's style during his American period is characterized by a remarkable restraint and psychological depth. Unlike the more flamboyant portraiture favored by some contemporaries, Field’s miniatures were meticulously detailed, focusing on capturing subtle expressions and conveying an air of quiet dignity. He was particularly adept at portraying the inner lives of his subjects – their personalities revealed through fleeting glances, carefully rendered hands, and the nuances of their attire. His portraits of George and Martha Washington, commissioned in 1800, are considered masterpieces of the genre, exemplifying his ability to imbue even the most iconic figures with a sense of humanity. These works demonstrate not only technical skill but also an understanding of historical context and the evolving role of the presidency.
In 1808, seeking a respite from the political turmoil and burgeoning commercialism of Philadelphia, Field relocated to Halifax, Nova Scotia. This move coincided with heightened tensions between Britain and its American colonies, and Field’s loyalist sympathies led him to embrace the British cause. He served in the 1st Company of Halifax Volunteer Artillery during the War of 1812, a testament to his commitment to the Crown. His time in Nova Scotia proved to be both productive and challenging, marked by a shift towards a more refined and introspective style. While he continued to paint portraits, his work became increasingly focused on capturing the beauty of the natural landscape – the rugged coastline, the vast forests, and the serene waters of the Atlantic.
Despite his success in both America and Nova Scotia, Field’s career was tragically cut short by yellow fever in 1819. His untimely death left behind a legacy of approximately 150 miniature portraits, many of which are now housed in prestigious collections such as the Yale University Art Gallery and the Smithsonian American Art Museum. Robert Field's miniatures offer a unique window into the social, political, and cultural landscape of early America – a testament to his artistic skill, keen observation, and enduring contribution to the nation’s artistic heritage. His work continues to be studied and admired for its technical brilliance, psychological insight, and quiet elegance.
Field's miniature portraits are distinguished by several key characteristics. He primarily employed watercolor on ivory or vellum, meticulously layering thin washes to achieve remarkable detail and luminosity. His compositions were typically small – often no larger than 3 inches square – demanding a high degree of precision and control. He favored a restrained palette, utilizing muted tones and subtle gradations of color to create a sense of depth and atmosphere. Crucially, Field’s portraits weren't merely likenesses; they aimed to capture the *essence* of his subjects, revealing their personalities through carefully observed details – the angle of an eyebrow, the set of a mouth, the texture of clothing.
Robert Field played a significant role in establishing miniature portraiture as a respected art form in America. His work helped to legitimize the genre and demonstrate its potential for capturing not only physical likenesses but also psychological character. Furthermore, his portraits provide invaluable insights into the social and political dynamics of early 19th-century America – offering glimpses into the lives of prominent figures and reflecting the values and aspirations of a nation in transition. His legacy endures as a reminder of the quiet brilliance of an artist who profoundly shaped the visual culture of his time.
