Uuendatud november 2026 · järjestatud meie populaarsusindeksi järgi (otsingud, külastused ja tellimused igale teosele) · 1 teost James Macbeth meie kataloogis
Lühidalt
James Macbeth kõige tuntum teos on Sir Daniel Macnee, 1806 - 1882. Artist (1870). See asub Edinburgh linnas Šoti Rahvusportreegalerii muuseumis. Meie kataloogist leiate 1 teost kunstnikult James Macbeth; see juhend koondab 1 kõige tuntumat teost koos aastakuga, muuseumiga ja iga teose ajaloolise luguga.
Muuseum, milles on kõige rohkem sellel lehel esitatud teoseid.
| Muuseum | Linn | James Macbeth teosed | Selle nimekirja maalid |
|---|---|---|---|
 Šoti Rahvusportreegalerii |
Edinburgh | 1 | Sir Daniel Macnee, 1806 - 1882. Artist |
Sellel lehel olevad James Macbeth teosed on kõik aastast 1870. Siin on need kubus kulu ja populaarsuse järjekorras.
Vali aasta, et näha selle aasta teoseid.
Nimekirja tipis on Sir Daniel Macnee, 1806 - 1882. Artist (1870).
23 aastat vanus. James Macbeth sündis aastal 1847 ning teos Sir Daniel Macnee, 1806 - 1882. Artist pärineb aastast 1870.
Meie kataloogist leiate 1 teost kunstnikult James Macbeth.
Enamik neist on leetav Šoti Rahvusportreegalerii (Edinburgh). Ülemal oleval muuseumite ninal on täielik ülevaade.
Jah. Iga maal on sellel lehel saadav kas käsitsi maalitud õlimaalina või trükkina, teile sobivas suuruses. Tellimiseks avage maali oma leht.
The year is 1847 in Glasgow. James Macbeth enters a world where the lines of Scottish identity are being drawn through brushstrokes and ink. He is born into a family of creators; his father, Norman Macbeth, is a portrait painter, and his brothers, Robert Walker and Henry, will also find their way into the arts. This lineage is not merely a coincidence of birth but a shared language of form and color. James moves between the creative hubs of London and Scotland, establishing a presence in both the metropolitan galleries and the local scenes of his homeland.
His work often turns toward the human figure and the quietude of domestic life. In his portrait of Sir Daniel Macnee, he captures the likeness of a contemporary artist, a choice that places him directly within the professional circles of his era. He does not merely record a face; he engages with the social fabric of the mid-nineteenth century.
As the 1880s approach, a shift occurs in the atmosphere of his compositions. His painting A quiet afternoon signals a departure from strict realism toward something more atmospheric. This work anticipates the mood of Aestheticism, a movement that prioritizes sensory experience and a specific kind of contemplative stillness. The scene is not one of action, but of a lingering, suspended moment.
His output is defined by two primary modes of expression:
The trajectory of James Macbeth is cut short in 1891. He leaves behind a body of work that bridges the gap between traditional Scottish portraiture and the emerging sensibilities of the late Victorian period. His presence in the National Galleries of Scotland ensures that his contribution to the visual history of his country remains documented, even as the movements he helped anticipate continue to evolve.
