更新于 November 2026 · 基于我们的流行度评分排名（每件作品的搜索量、访问量及订单量） · 44 件 Robert Brough 作品收录于我们的目录中
简而言之
如果你知道一幅 Robert Brough 的画作，那很可能就是《The Artist at Seventeen Years of Age (1889)》。 Monsignor Charles Tochetti (1897) 和 Sir James Murray (1850–1933) (1903) 构成了人们一眼就能认出的三件作品。 我们的目录中包含 Robert Brough 的 44 件作品。以下是 33 件最广为人知的作品，并附有创作年份、馆藏地点及其艺术特色。
In this 1889 oil on canvas, we find a young Robert Brough looking back at himself. It is a close-up, bust-length portrait that captures the artist at seventeen, a period of profound transition. The grayscale tones and muted palette lend the work a certain melancholy, as if we are witnessing a private thought caught in mid-air. There is a stillness here, a sense of a soul contemplating its own direction…
In this 1897 portrait, we find ourselves in a quiet, intimate encounter with Monsignor Charles Tochetti. The subject is presented in a close-up, three-quarter view, his presence filling the frame with a sense of settled dignity. There is a profound stillness here, a moment captured where the light catches the deep lines of a life lived with purpose. The background remains dark and indistinct, a deliberate choice that pushes the…
The portrait of Sir James Murray, executed in 1903, presents a formal study of the subject in a monochromatic palette. He is positioned slightly to the left of the center, facing forward with a direct gaze directed toward the viewer. The figure is dressed in a dark suit, which provides a solid, structured silhouette against the background. A doorway is visible behind him on the right, creating a receding plane…
A seated woman occupies the center of this 1897 oil on canvas, her gaze directed toward the viewer from a position of relaxed formality. She sits within an indistinct interior, the background rendered in soft, blended brushstrokes that lack sharp definition. The composition is anchored by the subject's upper body, while elements of her immediate surroundings provide subtle narrative cues:
Peter Esslemont, Lord Provost of Aberdeen (1880–1882) (copy after George Reid)1900
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John Adrian Louis (1860–1908), 7th Earl of Hopetoun and 1st Marquis of Linlithgow1904 · West Lothian Council
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这些作品中最常出现的四个主题，以及各自最著名的代表作。
收藏了本页中大部分画作的 7 家博物馆。
| 博物馆 | 城市 | Robert Brough 的作品 | 此列表中的画作 |
|---|---|---|---|
 爱丁堡艺术学院 |
爱丁堡 | 2 | Female Nude with Brass Urn, Nude Study Female |
 University of Aberdeen |
阿姆斯特丹 | 1 | John Thomson |
 苏格兰国家美术馆 |
爱丁堡 | 1 | William Dallas Ross (d.1931) |
 West Lothian Council |
Livingston | 1 | John Adrian Louis (1860–1908), 7th Earl of Hopetoun and 1st Marquis of Linlithgow |
 Mintlaw Discovery Centre |
Peterhead | 1 | Reverend Dr James Stewart (1830–1917), Minister of Peterhead (1864–1917) (unfinished) |
 Dundee Art Gallery And Museum |
Dundee | 1 | Mary Dallas Ross |
 The Fleming Collection |
伦敦 | 1 | Fieldworkers |
选择一个年代，欣赏其代表作。
In this 1889 oil on canvas, we find a young Robert Brough looking back at himself. It is a close-up, bust-length portrait that captures the artist at seventeen, a period of profound transition. The grayscale tones and muted palette lend the work a certain melancholy, as if we are witnessing a private thought caught in mid-air. There is a stillness here, a sense of a soul contemplating its own direction…
In this 1897 portrait, we find ourselves in a quiet, intimate encounter with Monsignor Charles Tochetti. The subject is presented in a close-up, three-quarter view, his presence filling the frame with a sense of settled dignity. There is a profound stillness here, a moment captured where the light catches the deep lines of a life lived with purpose. The background remains dark and indistinct, a deliberate choice that pushes the…
The portrait of Sir James Murray, executed in 1903, presents a formal study of the subject in a monochromatic palette. He is positioned slightly to the left of the center, facing forward with a direct gaze directed toward the viewer. The figure is dressed in a dark suit, which provides a solid, structured silhouette against the background. A doorway is visible behind him on the right, creating a receding plane…
榜首作品是The Artist at Seventeen Years of Age (1889)。紧随其后的是：Monsignor Charles Tochetti (1897)和Sir James Murray (1850–1933) (1903)。
17岁。Robert Brough出生于1872，其作品The Artist at Seventeen Years of Age创作于1889。
The Artist at Seventeen Years of Age, Monsignor Charles Tochetti, Sir James Murray (1850–1933), Mrs Nicol of Roscobie, John Hay, Untitled, Dolce pomum, Mary Dallas Ross (c.1881–1936), Female Nude with Brass Urn 及 View of Elgin, Moray。您可以在上方的列表中找到每件作品的创作年份及所属博物馆。
我们的目录中共有 44 件 Robert Brough 的作品，创作时间从 1889 到 1905。
您可以在 爱丁堡艺术学院 (爱丁堡), University of Aberdeen (阿姆斯特丹) 及 苏格兰国家美术馆 (爱丁堡) 中找到其中的大部分作品。上方的博物馆列表提供了详细分类。
在 1890s 时期，作品数量远超其他时期：本页 33 件作品中有 17 件出自该时期，其中包含 Monsignor Charles Tochetti 件。
此处的早期作品为 The Artist at Seventeen Years of Age (1889)；最新作品为 Mrs Nicol of Roscobie (1905)。
Man (2) 及 Portrait (2)，共计 33 件作品。
Oil On Canvas，共用于本页 33 件作品中的 4 件。
您可以在 爱丁堡艺术学院, 爱丁堡 的此页面上看到 2 件作品，包括 Female Nude with Brass Urn 及 Nude Study Female。
是的。本页面的每幅画作均可根据您的需求，选择手工油画复制品或版画，并提供多种尺寸供您选择。只需打开画作详情页即可下单。
In the annals of Scottish art history, few names evoke such a poignant sense of fleeting brilliance as Robert Brough. A painter whose life was tragically brief, spanning only from 1872 to 1905, Brough managed to capture the very essence of Victorian Aberdeen with a sensitivity that transcended the rigid academicism of his era. Born near Invergordon in the rugged beauty of Ross and Cromarty, he carried within him a vision that sought to bridge the gap between the venerable traditions of his homeland and the burgeoning modernism sweeping through Europe. His work remains a testament to a soul caught between the structured dignity of the past and the vibrant, emotive possibilities of the future.
Brough’s artistic journey was deeply rooted in the soil of Scottish tradition, yet it was never confined by it. His formal training at the Glasgow School of Art provided him with a formidable technical foundation, most notably through his studies under the influence of the legendary portraitist Henry Raeburn. From this encounter, Brough inherited a profound respect for the psychological depth of his subjects and a mastery of capturing authentic human emotion. However, where his predecessors might have sought a static perfection, Brough pursued something far more elusive: the atmospheric mood. He looked toward the Parisian avant-garde, absorbing the light-drenched lessons of Impressionism and the dreamlike enigmas of Symbolism, weaving these international influences into the fabric of his Scottish sensibilities.
As Brough established himself within the artistic circles of Aberdeen, his style underwent a remarkable evolution, moving away from mere representation toward a more expressive, visceral language. He became a master of color, utilizing a palette that could shift from somber, muted tones to sudden, breathtaking bursts of luminosity. His canvases were not merely depictions of people or scenes; they were vessels for feeling. In his portraits, one finds an intimate connection with the sitter, achieved through delicate brushstrokes and a sophisticated use of light that seems to pulse with life.
This mastery is perhaps most evident in his celebrated works, where the boundaries between reality and imagination begin to blur:
Though his career was cut short by his untimely death at the age of thirty-two, Robert Brough left behind an oeuvre that continues to resonate with a singular, haunting beauty. He was an artist who refused to be stagnant, constantly experimenting with the interplay of light and shadow to express the inner complexities of his subjects. His ability to blend the formal requirements of portraiture with the emotive freedom of modern movement allowed him to document Victorian society not just as it appeared, but as it felt.
Today, Brough is remembered not merely as a regional painter, but as a visionary Scot who dared to infuse traditional subjects with a modern, luminous spirit. His works, held in prestigious collections such as Tate Britain, serve as vital links to a transformative period in art history. To look upon a Brough painting is to witness the struggle and the triumph of an artist striving to capture the ephemeral—the fleeting light, the passing emotion, and the enduring soul of a changing world.
