Guide till studentkonst
Upphovsrätt Detta verk är fritt från upphovsrätt. James Passmore Smith avled 1888; upphovsrätten gäller 70 år efter konstnärens död, vilket innebär att den upphörde 1958.
I sammanhanget
Edwin Greble — James Passmore Smith
Originalet mäter 5 × 4 cm (höjd × bredd), avbildat här bredvid en vuxen person av genomsnittlig längd.
Övre raden: åren. Undre raden: konstnärens ålder vid början och slutet av varje tidsperiod — 0 vid födseln, 85 vid dödsfallet.
Målat när konstnären var 26. Konstnären blev 85 år gammal. 0 av de 3 daterade verk av denna konstnär i vår katalog skapades tidigare.
Skuggat: James Passmore Smith livstid (1803–1888) ▲ detta verk, 1829 varje daterad målning, decennium för decennium
Välj ett av verken ovan: nämn två saker som det har gemensamt med detta, och en sak som skiljer dem åt.
Fler verk som passar tillsammans med detta: artsdot.com/sv/art/similar/james-passmore-smith-edwin-greble-D43ST2-en/
Mätt från bilden
Huvudfärg
Rosy Brown #b6aba1
Katalogiserad palett
Dessa färger i konstnärens hela palett Hitta andra målningar efter färg
De tio ledande länderna
Hitta de tre mörkaste länderna på kartan. Finns museet som förvarar den här målningen i något av dem? Skriv ner en anledning till varför människor långt borta skulle kunna titta på den.
Tillsammans utgör dessa verk 100,0% av all den uppmärksamhet som denna konstnärs målningar har fått under de senaste tolv månaderna. Katalogen innehåller 3 verk av denna konstnär, varav 1 har betraktats minst en gång. Denna målning rankas som nummer 1 av dem, med 100,0% av den uppmärksamheten. Samma siffror, månad för månad
Staplarna mäter uppmärksamhet, inte kvalitet. Välj verket högst upp och detta: nämn en sak som kan göra en målning berömd utöver hur väl den är målad.
Om detta konstverk
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.
Konstnär och museum
Född i 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.
artsdot.com/sv/art/download/james-passmore-smith-edwin-greble-D43ST2-en/
Titta närmare
Edwin Greble — James Passmore Smith
Svara med egna ord. Det finns inga felaktiga svar här – bara svar som du kan förklara.
Skriv ett kort stycke om detta konstverk. Använd informationen från tidigare delar av denna guide samt dina svar ovan.
Den färg som framträder mest i "Edwin Greble" är Rosy Brown (#b6aba1). Den dominerande färgen är användbar när man matchar ett konstverk med en inredning.
"Edwin Greble" av James Passmore Smith har en Monochromatic färgintensitet.
Hitta verk som liknar "Edwin Greble" på verkets sida Liknande verk.