Oppdatert October 2026 · rangert etter vår popularitetsscore (søk, besøk og bestillinger for hvert verk) · 24 verk av Sarah Goodridge i vår katalog
Kort fortalt
Det mest kjente maleriet av Sarah Goodridge er Skjønnhet åpenbart (1828), og du kan se det på Metropolitan Museum of Art i New York. Rett etter følger Beauty Revealed (1828) og Mrs. George Ingersoll (Martha Goldthwaite) (1820). Av 24 verk av Sarah Goodridge i vår katalog, er disse 23 de mest kjente. Hvert verk er oppført med årstall, museum og en kort beskrivelse av hva som gjør det unikt.
Å betrakte dette verket er som å møte et privat øyeblikk frosset i tid fra 1828. Det er et selvportrett av Sarah Goodridge, utført med en skjørhet som overgår dens beskjedne størrelse. Motivet er en kvinne, kunstneren selv, fanget i en tilstand av dyp sårbarhet. Hun er fremstilt med armene tett omsluttet rundt brystet, en gest som er både beskyttende og avslørende. Selv om hun fremstår naken, forblir komposisjonen subtil;…
Beauty Revealed is a self-portrait by Sarah Goodridge. Painted in 1828, the work captures a private moment of exposure. It is a miniature portrait of the artist's own bared breasts. The image focuses on the skin and the curve of the body, stripped of a face or a name.
The woman gazes out from a small, intimate space, her presence felt through a delicate three-quarter turn that suggests a moment of private reflection. She wears an ornate lace bonnet, its ruffles cascading in soft, voluminous textures that frame a face of quiet dignity. A dark garment clings to her shoulders, accented by a small piece of jewelry that catches the light, providing a sharp point of focus against the…
Sarah Goodridge’s “Portrait of a Lady,” executed circa 1820, stands as a testament to the burgeoning artistic spirit of early 19th-century America—specifically within the realm of miniature portraiture. More than just an image captured on ivory, this artwork embodies the refined sensibilities and meticulous craftsmanship characteristic of its time, offering viewers a glimpse into the social landscape of New England.
De fire motivene som forekommer hyppigst i disse verkene, hver med sitt mest kjente eksempel.
De 5 museene som innehar flest av maleriene på denne siden.
| Museum | By | Verker av Sarah Goodridge | Malerier fra denne listen |
|---|---|---|---|
 Smithsonian American Art Museum |
Washington, D.C. | 9 | Portrait of a Gentleman, Edward Appleton, Betsy Goodridge |
 Metropolitan Museum of Art |
New York | 7 | Skjønnhet åpenbart, Mrs. George Ingersoll (Martha Goldthwaite), Portrait of a Lady |
 Mead Art Museum |
Amherst | 1 | Grenville Mellen (1799-1841) |
 Harvard Art Museums |
Cambridge | 1 | Elizabeth Greenleaf Parsons (1758-1829) |
 Rhode Island School of Design Museum of Art |
Providence | 1 | Portrait of James Sayville of Lexington, Kentucky |
Velg et tiår for å se dets fremste verk.
Å betrakte dette verket er som å møte et privat øyeblikk frosset i tid fra 1828. Det er et selvportrett av Sarah Goodridge, utført med en skjørhet som overgår dens beskjedne størrelse. Motivet er en kvinne, kunstneren selv, fanget i en tilstand av dyp sårbarhet. Hun er fremstilt med armene tett omsluttet rundt brystet, en gest som er både beskyttende og avslørende. Selv om hun fremstår naken, forblir komposisjonen subtil;…
Øverst på listen står Skjønnhet åpenbart (1828), Metropolitan Museum of Art, New York. Rett bak følger: Beauty Revealed (1828) og Mrs. George Ingersoll (Martha Goldthwaite) (1820).
40 år gammel. Sarah Goodridge ble født i 1788, og Skjønnhet åpenbart er fra 1828.
Skjønnhet åpenbart, Beauty Revealed, Mrs. George Ingersoll (Martha Goldthwaite), Portrait of a Lady, Georgina Gardner Lee, Grenville Mellen (1799-1841), Elizabeth Greenleaf Parsons (1758-1829), Portrait of a Gentleman, Portrait of a Lady og Portrait of a Gentleman. Du finner årstallet og museet for hvert av dem i listen ovenfor.
Vi har 24 verk av Sarah Goodridge i vår katalog, datert fra 1820 til 1844.
Du finner de fleste av dem i Smithsonian American Art Museum (Washington, D.C.), Metropolitan Museum of Art (New York) og Mead Art Museum (Amherst). Listen over museer gir en fullstendig oversikt.
I 1820s, mer enn på noe annet tidspunkt: 17 av de 23 verkene på denne siden stammer fra den tiden, Skjønnhet åpenbart av dem.
Det eldste verket her er Mrs. George Ingersoll (Martha Goldthwaite) (1820); det nyeste er Emily Appleton (1844).
Portrait (5), Miniature (3) og New england (3) av 23 verk på denne siden.
Watercolor, brukt i 2 av 23 verk på denne siden.
Neoclassicism, som du kan se i verkene på denne siden.
Du kan se 9 av verkene på denne siden på Smithsonian American Art Museum, Washington, D.C., inkludert Portrait of a Gentleman, Edward Appleton og Betsy Goodridge.
Ja. Alle malerier på denne siden er tilgjengelige som håndmalte oljereproduksjoner eller trykk, i den størrelsen som passer deg. Åpne maleriets side for å bestille.
In the quiet, industrious landscape of early nineteenth-century New England, a singular talent emerged from the shadows of economic hardship to redefine the intimacy of American portraiture. Sarah Goodridge (1788–1853) was not merely a painter; she was a pioneer who navigated the rigid social constraints of her era to become one of the most accomplished miniaturists of her time. Born in Templeton, Massachusetts, Goodridge’s journey began far from the prestigious studios of Boston. Her early years were defined by a profound lack of formal resources, yet it was within this scarcity that her artistic spirit first took root. Legend tells us that she practiced her craft on the most humble of canvases—scraps of birch bark—demonstrating an innate ability to find beauty and form in the natural world around her.
As she matured, Goodridge’s raw talent caught the attention of the artistic elite, leading her to the vibrant cultural hub of Boston. It was here that she encountered the legendary Gilbert Stuart, a titan of American portraiture. The relationship between the mentor and the protégé became a cornerstone of her professional development. Stuart did not merely offer technical guidance; he provided the validation necessary for a woman of her background to enter a competitive, male-dominated field. Their connection was so profound that Goodridge produced a portrait of Stuart himself—a work so strikingly accurate that the master famously regarded it as the only true representation of his own likeness. This achievement served as a powerful testament to her precision and her ability to capture the very essence of her subjects.
The true magic of Goodridge’s work lies in her mastery of ivory painting, a medium that requires an almost superhuman level of patience and delicacy. Unlike larger oil paintings, the miniature format demands a meticulous approach to light and texture. Working on thin wafers of ivory, Goodridge learned to manipulate translucent layers of pigment to create a lifelike glow, making the skin of her subjects appear as though it were illuminated from within. This technique allowed her to capture the subtle nuances of New England society, rendering everything from the soft lace of a collar to the soulful depth of an eye with breathtaking clarity.
Her repertoire of works, such as the hauntingly beautiful Emily Appleton (1844) and the elegant Portrait of a Lady (1820), showcases her ability to blend technical rigor with emotional resonance. Her art was characterized by:
Beyond the aesthetic beauty of her miniatures, Sarah Goodridge holds a vital place in the historical narrative of American art. As one of the first African American artists to gain recognition within the predominantly white artistic circles of the nineteenth century, her success was a quiet but radical defiance of the racial and gendered boundaries of her time. She navigated a landscape of systemic limitations with a grace that allowed her talent to speak louder than the prejudices of the age.
Today, Goodridge’s legacy is preserved not just in museums, but in the way we understand the evolution of American identity. Her portraits serve as windows into the social fabric of early America, capturing the faces of a generation with an intimacy that larger-scale works often lack. Through her dedication to her craft and her ability to transform humble beginnings into a distinguished career, Sarah Goodridge remains a luminous figure in the history of American portraiture, reminding us that true artistry can flourish even in the most delicate of mediums.
