Päivitetty marraskuu 2026 · järjestetty suosituimmuuspisteiden mukaan (jokaisen teoksen haut, vierailut ja tilaukset) · 1 teosta taiteilijalta A. Reddock luettelossamme
Lyhyesti
Teos Andrew Meikle (1811) on se A. Reddock maalaus, jonka useimmat tuntevat, ja sen voit nähdä museossa National Portrait Gallery, Lontoo. A. Reddockin 1 teoksesta meidän valikoimassamme nämä 1 ovat tunnetuimpia. Jokaisesta on ilmoitettu vuosi, museo sekä lyhyt kuvaus siitä, mikä tekee teoksesta erityisen.
Museo, jossa on eniten tämän sivun maalauksista.
| Museo | Kaupunki | A. Reddock teokset | Tämän listan maalaukset |
|---|---|---|---|
 National Portrait Gallery |
Lontoo | 1 | Andrew Meikle |
1811 on vuosi, jolloin kaikki tällä sivulla olevat päivätyt A. Reddock -teokset on tehty. Tässä ne ovat, tunnetuimmat ensin.
Valitse vuosi nähdäksesi sen teokset.
Listan kärjessä on Andrew Meikle (1811).
37 vuotta. A. Reddock syntyi vuonna 1774, ja teos Andrew Meikle on peräisin vuodelta 1811.
Luettelossamme on 1 teosta taiteilijalta A. Reddock.
Löydät useimmat niistä National Portrait Gallery (Lontoo). Yllä oleva museolista sisältää täydellisen erittelyn.
Kyllä. Jokainen tämän sivun teos on saatavilla käsinmaalatun öljyreproosion tai painoksena juuri sinulle sopivassa koossa. Avaa teoksen sivu tilataksesi sen.
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.