Oppdatert November 2026 · rangert etter vår popularitetsscore (søk, besøk og bestillinger for hvert verk) · 1 verk av James Macbeth i vår katalog
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James Macbeths mest kjente verk er Sir Daniel Macnee, 1806 - 1882. Artist (1870). Du finner det på Scottish National Portrait Gallery i Edinburgh. Vi har 1 verk av James Macbeth i vår katalog; denne guiden har plukket ut de 1 mest kjente, med årstall, museum og historien bak hvert verk.
Museet som har flest av maleriene på denne siden.
| Museum | By | Verker av James Macbeth | Malerier fra denne listen |
|---|---|---|---|
 Scottish National Portrait Gallery |
Edinburgh | 1 | Sir Daniel Macnee, 1806 - 1882. Artist |
De daterte verkene av James Macbeth på denne siden er alle fra 1870. Her er de, sortert etter berømmelse.
Velg et år for å se verkene fra det året.
Øverst på listen står Sir Daniel Macnee, 1806 - 1882. Artist (1870).
23 år gammel. James Macbeth ble født i 1847, og Sir Daniel Macnee, 1806 - 1882. Artist er fra 1870.
Vi har 1 verk av James Macbeth i vår katalog.
Du finner de fleste av dem i Scottish National Portrait Gallery (Edinburgh). Listen over museer gir en fullstendig oversikt.
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.
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.
