Ažurirano Studeni 2026 · rangirano prema našoj ocjeni popularnosti (pretraživanja, posjeti i narudžbe za svako djelo) · 55 djela Robert Edge Pine u našem katalogu
Ukratko
Ako znate jedno djelo Robert Edge Pine, to je vjerojatno George Read (1784) koje se nalazi u muzeju National Portrait Gallery, Washington, D.C.. Jeffery Amherst, first Baron Amherst (1784) i General William Smallwood (1785) upotpunjuju trojicu djela koja ljudi odmah prepoznaju. Naš katalog sadrži 55 djela umjetnika Robert Edge Pine. U nastavku je 55 najpoznatijih djela, s navedenom godinom nastanka, mjestom gdje se mogu pronaći i onim što ih čini posebnima.
An elderly man sits in a three-quarter view, his body angled toward the right while his presence anchors the frame. He is a study in muted tones: deep browns, blacks, and the pale cream of a ruffled shirt. His hair, a powdered white, is styled with the precision of the late eighteenth century. A single light source from the upper left carves his features out of the shadows, illuminating a…
This portrait presents Jeffery Amherst, first Baron Amherst, as captured by the British artist Robert Edge Pine. Painted in 1784, the work offers a formal study of a significant British figure during a period of profound political transition. The subject is rendered with a sense of quiet authority, reflecting the social standing inherent to his title.
C Robert Edge Pine executed this portrait of General William Smallwood between 1785 and 1788. The subject was a prominent military officer and politician hailing from Charles County, Maryland. Smallwood’s service during the American Revolutionary War included rising to the rank of major general.
is a formal 18th-century full-length portrait by Robert Edge Pine. Executed about 1766, the work presents a young man positioned within an outdoor setting. The subject is depicted in the guise of a sportsman, a common theme for portraiture of this period.
Četiri teme koje se najčešće pojavljuju u ovim djelima, svaka s svojim najpoznatijim primjerom.
8 muzeja u kojima se nalazi najviše djela s ove stranice.
| Muzej | Grad | Djela autora Robert Edge Pine | Slike iz ovog popisa |
|---|---|---|---|
 National Portrait Gallery |
Washington, D.C. | 5 | George Read, Patience Lovell Wright, Robert Morris |
 National Portrait Gallery |
London | 4 | George Washington, Catharine Macaulay, Nee Sawbridge -, David Garrick |
 Yale Center for British Art |
New Haven | 1 | Jeffery Amherst, first Baron Amherst |
 National Gallery of Art |
Washington | 1 | General William Smallwood |
 Brigham Young University Museum of Art |
Provo | 1 | Portrait of Mrs. Reid in the Character as a Sultana |
 Art Gallery of New South Wales |
Sydney | 1 | The young sportsman |
 Sudbury Hall |
Ashbourne | 1 | John De Warenne |
 Clevedon Court |
Clevedon | 1 | Bethia Legge |
Radovi umjetnika Robert Edge Pine ovdje obuhvaćaju razdoblje od 23 godina, od 1763 do 1785. Pregledajte ih godinu po godinu, uz najpoznatija djela iz svake godine.
Odaberite godinu kako biste vidjeli njezina djela.
is a formal 18th-century full-length portrait by Robert Edge Pine. Executed about 1766, the work presents a young man positioned within an outdoor setting. The subject is depicted in the guise of a sportsman, a common theme for portraiture of this period.
An elderly man sits in a three-quarter view, his body angled toward the right while his presence anchors the frame. He is a study in muted tones: deep browns, blacks, and the pale cream of a ruffled shirt. His hair, a powdered white, is styled with the precision of the late eighteenth century. A single light source from the upper left carves his features out of the shadows, illuminating a…
Još od 1784
C Robert Edge Pine executed this portrait of General William Smallwood between 1785 and 1788. The subject was a prominent military officer and politician hailing from Charles County, Maryland. Smallwood’s service during the American Revolutionary War included rising to the rank of major general.
Još od 1785
Na vrhu liste je George Read (1784), National Portrait Gallery, Washington, D.C.. Odmah iza njega su: Jeffery Amherst, first Baron Amherst (1784) i General William Smallwood (1785).
54 godina. Robert Edge Pine je rođen/a 1730, a djelo George Read datira iz 1784.
George Read, Jeffery Amherst, first Baron Amherst, General William Smallwood, Portrait of Mrs. Reid in the Character as a Sultana, The young sportsman, Patience Lovell Wright, George Read, Portrait of John Wilkes ), Robert Morris i Margaret Brown Stone. Godinu i muzej svakog od njih pronaći ćete u gornjem popisu.
U našem katalogu imamo 55 djela umjetnika Robert Edge Pine, datiranih od 1763 do 1785.
Većinu njih možete pronaći u National Portrait Gallery (Washington, D.C.), National Portrait Gallery (London) i Yale Center for British Art (New Haven). Na gornjoj listi muzeja nalazi se detaljan pregled.
U 1785, više nego ikada prije: 5 od 55 djela na ovoj stranici potječe iz tog vremena, od čega je General William Smallwood među njima.
Najstarije djelo ovdje je Portrait of Mrs. Reid in the Character as a Sultana (1763), a najnovije je General William Smallwood (1785).
18th century (10), Portrait (9) i Historical figure (7) od ukupno 55 djela na ovoj stranici.
Oil On Canvas, korišteno u 4 od 55 djela na ovoj stranici.
Neoclassicism, kao što možete vidjeti u djelima na ovoj stranici.
Na ovoj stranici možete vidjeti 5 djela u muzeju National Portrait Gallery, Washington, D.C., uključujući George Read, Patience Lovell Wright i Robert Morris.
Da. Svaka slika na ovoj stranici dostupna je kao ručno oslikana uljana reprodukcija ili kao tisak, u veličini koja vam odgovara. Jednostavno otvorite stranicu slike kako biste je naručili.
In the grand tapestry of the eighteenth century, few artists captured the profound transition from colonial tension to national identity as poignantly as Robert Edge Pine. Born in London in 1730, Pine was a man of two worlds, an Anglo-American painter whose life and work bridged the gap between the established elegance of the British Enlightenment and the raw, burgeoning spirit of the American Revolution. His artistic lineage was rooted in the meticulous precision of his father, John Pine, a renowned engraver and cartographer. This early exposure to the disciplined world of printmaking instilled in Robert a foundational reverence for detail and an uncanny ability to translate complex narratives into visual reality, a skill that would later serve him as he documented the faces of history.
Pine’s early career in London was marked by significant prestige, as his talent for portraiture earned him the attention of the era's most influential figures. He moved within the sophisticated circles of the Society of Artists and the Free Society of Artists, painting luminaries such as George II and the celebrated actor David Garrick. His work during this period was characterized by a refined mastery of character, capturing not just the physical likeness of his subjects but the subtle psychological nuances that defined the European elite. Yet, beneath this polished exterior lay an artist deeply attuned to the shifting political tides of the Atlantic world, a sensitivity that would eventually draw him across the ocean to the shores of a new nation.
The final chapter of Pine’s life saw him relocate to Philadelphia, where he became an essential visual chronicler of the American struggle for independence. During these transformative years, his art transcended mere portraiture to embrace the profound weight of history painting. His masterpiece, “America,” painted in 1778, stands as a breathtaking testament to his allegorical prowess. In this work, Pine did not merely paint a landscape or a person; he painted an idea. By depicting America as a suffering figure receiving solace from symbols of liberty, concord, plenty, and peace, he provided a visual language for the very ideals that fueled the revolution, offering hope and moral clarity to a nation in the throes of war.
Beyond his allegorical triumphs, Pine’s commitment to documenting the American cause is perhaps most famously realized in his ambitious, though unfinished, work, “Congress Voting Independence.” This monumental composition sought to immortalize the interior of Independence Hall, populating it with the portraits of the signers of the Declaration of Independence. Through this project, Pine attempted to weave together the individual identities of the Founding Fathers into a singular, cohesive narrative of democratic birth. His ability to capture figures like George Washington—specifically in his rare, mature portrait executed at Mt. Vernon—demonstrates his unique capacity to document the human element behind the political icons.
Though his life was cut short in 1788, the legacy of Robert Edge Pine remains an indispensable part of the American artistic canon. He occupied a critical historical interlude, a period between the departure of masters like Copley and the return of Stuart, where his work served as a precious record of a society on the precipice of change. His contributions can be summarized through several enduring impacts:
Today, the works of Robert Edge Pine are cherished not merely as beautiful objects of art, but as historical windows. They allow us to peer into the very heart of the eighteenth century, witnessing the faces of those who shaped a continent and feeling the pulse of a revolution through the evocative strokes of his brush.
