学生作品ガイド
著作権 この作品はパブリックドメインです。James Passmore Smithは1888に没し、著作権は没後70年まで保護されるため、1958に終了しました。
文脈に合わせて
Edwin Greble — James Passmore Smith
原寸は 5 × 4 cm (高さ × 幅) で、ここでは平均的な身長の成人と並べて表示しています。
上の行：年。下の行：各期間の開始時と終了時の年齢 — 出生時は0、没時は 85。
作家が 26 歳の時に制作。 そのアーティストは85歳で亡くなりました。 0 の当カタログにおけるこの作家の制作年が判明している 3 点の作品のうち、これよりも以前に制作されたものがあります。
背景色：James Passmore Smithの生涯 (1803–1888) ▲ 本作品、1829 年代ごとに記された、すべての絵画作品
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画像から抽出したパレット
主要色
Rosy Brown #b6aba1
カタログ済みパレット
アーティストのパレット全体に含まれるこれらの色彩 色から他の絵画を探す
主要な10カ国
地図上で最も色が濃い3つの国を見つけてください。この絵画を収蔵している美術館は、そのいずれかの国にありますか？遠く離れた場所にいる人々が、この作品に目を向ける理由を一つ書き出してください。
これらの作品は、このアーティストの絵画が過去12か月間に受けた注目全体の 100.0% を占めています。カタログにはこのアーティストによる 3 点の作品が収められており、そのうち 1 点は少なくとも一度は閲覧されました。 この絵画は、その中での注目度が 1 位で、その注目の 100.0% を占めています。 月ごとの集計結果は同一です
バーは注目度を示すものであり、品質を示すものではありません。リストの最上部にある作品と、こちらの作品を選んでください：絵画がその技術的な巧拙を超えて有名になる要因として、考えられることを一つ挙げてください。
この作品について
Edwin Greble — James Passmore Smith
The inscription engraved on this case reads: Edwin Greble to Susan V. Major / 1829. / Painted by Jas. Smith. Edwin Greble (1806–1883) of Philadelphia ran a marble and granite works that produced mantels, cemetery monuments and architectural elements. He had this portrait miniature of himself made as a gift to his fiancée, Susan Virginia Major (1808–1875), whom he married in 1831. The window reveals a complicated braid of Greble’s hair, meant as an intimate reminder of his affection for Susan.
アーティストと美術館
生誕地 Salisbury, Zimbabwe
In the delicate, miniature realms of nineteenth-century portraiture, few artists captured the quiet dignity of their subjects with as much grace as James Passmore Smith. Born in 1803 in Salisbury, Rhodesia—a landscape that would later inform his deep appreciation for natural detail—Smith emerged as a master of the small scale. His life and work represent a fascinating intersection of colonial history and American artistic refinement. Though his origins suggest a connection to the burgeoning landscapes of Africa, his creative legacy is deeply rooted in the tradition of American miniature painting, a medium that demanded unparalleled precision and an intimate understanding of human character.
Smith’s artistry was defined by a meticulous devotion to the minute. Operating during an era when portrait miniatures served as precious, portable tokens of affection and status, he understood that his tiny canvases had to carry immense emotional weight. His technique involved the masterful layering of translucent glazes, a method borrowed from the grand academic traditions of Europe. This allowed him to achieve a remarkable luminosity, making skin tones appear supple and fabrics like silk and velvet possess a tactile, shimmering quality. Through the careful manipulation of light and shadow, Smith could breathe life into an oval of ivory, transforming a small piece of organic material into a window onto the soul of the sitter.
The breadth of Smith’s oeuvre is characterized by its remarkable consistency in quality and its ability to capture the social nuances of the early 19th century. His work often focused on the aristocracy and the rising professional classes, providing a visual record of the fashion, grooming, and poise of the age. One can observe his skill in the way he rendered the intricate braids of hair or the subtle textures of a gentleman's cravat, much like his celebrated portrait of Edwin Greble, which served as an intimate gift of devotion. His ability to convey not just a likeness, but a psychological depth, placed him in the lineage of great portraitists who championed naturalism.
While biographical records of his early training remain somewhat elusive, the influence of neoclassical masters is unmistakable in his compositions. The works of Sir Joshua Reynolds and Thomas Lawrence can be felt in his pursuit of an ethereal yet grounded realism. His repertoire, which includes approximately 300 portraits, showcases a versatile command over both watercolor on ivory and occasional oil applications. This versatility allowed him to navigate the demanding requirements of the miniature format, ensuring that every brushstroke contributed to the overall narrative of the subject's identity.
Today, the works of James Passmore Smith are cherished by institutions such as The Metropolitan Museum of Art and the Yale University Art Gallery. These collections preserve his contributions to American art history, allowing modern viewers to reconnect with the sentimental and social complexities of the Victorian era. His portraits serve as more than mere likenesses; they are historical artifacts that document the evolution of portraiture from a grand, public statement to an intimate, private communion.
The enduring appeal of Smith’s work lies in its ability to transcend its diminutive size. To look upon a Smith miniature is to experience a sense of discovery, finding vast landscapes of emotion within a few square inches of ivory. His career stands as a testament to the power of detail, proving that the smallest of canvases can hold the most profound of human stories.
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Edwin Greble — James Passmore Smith
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「Edwin Greble」の中で最も際立っている色はRosy Brown (#b6aba1)です。作品の主色（メインカラー）を知ることは、インテリアとのコーディネートを考える際に役立ちます。
James Passmore Smith作「Edwin Greble」は、Monochromaticな色彩の強さを備えています。
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