Хартия

Ръководство за ученически творби

Self Portrait

Jonathan Eastman Johnson, 1860

Име Клас Дата
Jonathan Eastman Johnson, Self Portrait (1860), Детройтският институт за изкуства. Обществено достояние Вижте това платно под движеща се светлина: рисунката, истинския цвят под лака, чистия пигмент

Факти

Художник
Jonathan Eastman Johnson topimpressionists.com/bg/artists/jonathan-eastman-johnson_bg/
Дати на създаване от художника
1824 – 1906
Картина с боя
1860
Материал
Acrylic On Canvas
Движение
Realism Painting ordinary people and ordinary work exactly as they are, without making them prettier or grander.
Проведено в
Детройтският институт за изкуства topimpressionists.com/bg/museums/%D0%B4%D0%B5%D1%82%D1%80%D0%BE%D0%B9%D1%82%D1%81%D0%BA%D0%B8%D1%8F%D1%82-%D0%B8%D0%BD%D1%81%D1%82%D0%B8%D1%82%D1%83%D1%82-%D0%B7%D0%B0-%D0%B8%D0%B7%D0%BA%D1%83%D1%81%D1%82%D0%B2%D0%B0-%D0%B4%D0%B5%D1%82%D1%80%D0%BE%D0%B9%D1%82_bg/
Artistic style
Genre Painting
Influences
Dutch Masters
Notable elements
Red cloth, wall details
Subject or theme
Self-Portraiture

Авторско право Тази творба е в обществено достояние. Jonathan Eastman Johnson е починал(а) през 1906; авторското право важи 70 години след смъртта на автора, така че то е изтекло през 1976.

Източник: TopImpressionists.com — достъп на 09 Октомври 2026

Self Portrait — Jonathan Eastman Johnson Част 1 · Произведението

В контекста

Self Portrait — Jonathan Eastman Johnson

Кога е боядисана тази творба?

  1. 1820
  2. 1830
  3. 1840
  4. 1850
  5. 1860
  6. 1870
  7. 1880
  8. 1890
  9. 1900

Горният ред: години. Долният ред: възраст на художника в началото и в края на всеки период — 0 при раждането, 82 при смъртта.

Написана, когато художникът е бил на 36 години. Художникът е дожил до 82 години. 13 от 69 датираните творби на този артист в нашия каталог са създадени по-рано.

Засенчен: животът на Jonathan Eastman Johnson (1824–1906) ▲ тази творба, 1860 всяка датирана картина, десетилетие по десетилетие

Първи творби: до 1860 Основни години на активна дейност: 1860–1877 По-късни творби: от 1877

Тези три периода разделят произведенията с посочена дата в този каталог на първо тримесечие, средна половина и последно тримесечие. Те не представляват пълното творческо наследство на артиста: един кратък период може да е пропуск в архива, а не просто време на творческо затишие. Годините, съвпадащи с живота на художника

Сравнение с

Изберете едно от произведенията по-горе: посочете две общи черти с това произведение и една различност между тях.

Други произведения, които биха допълнили това: topimpressionists.com/bg/art/similar/jonathan-eastman-johnson-self-portrait-8YDTTM-en/

Цветове

Измерено по изображението

    Основен цвят

    Phthalo Green #18131d

    Каталогизирана палитра

    • #18131D
    • #472A2A
    • #BA853C
    • #854E32

    Тези цветове са част от цялата палитра на художника Намерете други картини по цвят

    Палитра
    Earthy Доминиращата цветова гама в изображението.
    Основен цвят
    Phthalo Green
    Наситеност
    Balanced Колко са наситени и разнообразни цветовете – от един приглушен нюанс до множество ярки такива.
    Контраст
    Bold Доколко цветовете се различават по светлота и наситеност в рамките на картината.
    Хармония
    Balanced Harmony Колко добре цветовете си взаимодействат – от контрастни до напълно обединени.
    Яркост
    Deep_shadow Общата светлост или тъмнина на изображението – от дълбока сянка до ярък акцент.
    Наситенност
    Balanced Soft Колко чисти и наситени са цветовете – от почти сиви до напълно живи.

    От кои части на света се разглежда тази картина?

    • под 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% и повече
    Тази картина сама по себе си има твърде малко записани посетители, за да бъде картографирана, затова на плочката са изброени всички произведения на Jonathan Eastman Johnson през последните дванадесет месеца — общо 5 държави. Източник на тези данни

    Десетте водещи държави

    1. 1 Китай 87,5%7700 visits
    2. 2 Съединени Американски Щати 8,0%700 visits
    3. 3 Сингапур 2,3%200 visits
    4. 4 Испания 1,1%100 visits
    5. 5 Хонк Конг 1,1%100 visits

    Намерете трите най-тъмни държави на картата. Намира ли се музейът, в който се съхранява тази картина, в някоя от тях? Напишете една причина, поради която хора от далечни места биха дошли да я разгледат.

    20 най-разглеждани творби на Jonathan Eastman Johnson

    1. 1 In the Fields, 1878 4,3%400 visits
    2. 2 Union Soldiers Accepting a Drink, 1865 3,2%300 visits
    3. 3 A Ride for Liberty - The Fugitive Slaves, 1862 3,2%300 visits
    4. 4 Cranberry Pickers, Nantucket 3,2%300 visits
    5. 5 A Day Dream 3,2%300 visits
    6. 6 Lambs, Nantucket, 1874 3,2%300 visits
    7. 7 Fiddling His Way, 1866 2,1%200 visits
    8. 8 The Pension Claim Agent, 1867 2,1%200 visits
    9. 9 Winnowing Grain, 1877 2,1%200 visits
    10. 10 Self Portrait, 1860 тази творба 2,1%200 visits
    11. 11 The Young Musicians, 1862 2,1%200 visits
    12. 12 The Hatch Family 2,1%200 visits
    13. 13 Sarah Osgood Johnson Newton, 1856 2,1%200 visits
    14. 14 Worthington Whittredte, 1854 2,1%200 visits
    15. 15 Life in the South (aka My Old Kentucky Home) 2,1%200 visits
    16. 16 Little Soldier 2,1%200 visits
    17. 17 Old Man, Seated, 1880 2,1%200 visits
    18. 18 Woman Reading 2,1%200 visits
    19. 19 Self Portrait 2 2,1%200 visits
    20. 20 Sunday Morning (aka The Evening Paper) 1,1%100 visits

    В съвкупност тези творби привличат 48,7% от цялото внимание, което са получили картините на този артист през последните дванадесет месеца. Каталогът съдържа 171 творби на този артист, като 68 от тях са разглеждани поне веднъж. This painting ranks 10 of them, with 2,1% of that attention (200 visits). Всичко е същото, месец по месец

    Графиките измерват вниманието, а не качеството. Изберете произведението най-отгоре и това: посочете нещо, което би могло да направи една картина известна, освен самото ѝ техническо изпълнение.

    Източник: TopImpressionists.com — достъп на 09 Октомври 2026

    Self Portrait — Jonathan Eastman Johnson Част 2 · В контекст

    За това произведение

    Self Portrait — Jonathan Eastman Johnson

    A Window into American Realism: Eastman Johnson’s “Self Portrait” (1860)

    Eastman Johnson's "Self Portrait" of 1860 is more than just a likeness; it’s a meticulously crafted window into the soul of an era and the quiet dignity of a man. Painted during a pivotal period of American artistic development, this oil-on-canvas work embodies the burgeoning realism that would define Johnson's career and, in many ways, shape the course of 19th-century portraiture. The painting immediately draws the viewer in with its direct gaze – Johnson’s eyes meet ours across time, conveying a sense of thoughtful introspection and understated strength.

    The composition is deceptively simple yet profoundly effective. Dressed in a dark, well-tailored coat and holding a red cloth—a subtle detail that hints at theatricality or perhaps a deliberate gesture of presentation – Johnson presents himself against a muted wall adorned with a vase and a clock. These elements aren’t merely decorative; they ground the portrait within a domestic setting, suggesting a life lived within the rhythms of everyday existence. The background's subdued palette further emphasizes the subject, allowing his features and demeanor to take center stage.

    The Painter’s Palette: Technique and Style

    Johnson’s masterful technique is rooted in the academic traditions he studied in Europe, particularly in Düsseldorf, Germany, where he honed his skills alongside other American artists seeking a rigorous artistic education. However, unlike many of his European contemporaries, Johnson didn't simply replicate established styles; he adapted them to reflect the unique character of American life. His brushwork is precise and controlled, yet imbued with a remarkable sensitivity to light and shadow. Note the subtle gradations in tone that define the contours of his face, creating a sense of volume and depth.

    The painting’s realism extends beyond mere representation. Johnson captures not just Johnson's physical appearance but also something of his personality – a quiet confidence tempered by a hint of melancholy. The careful attention to detail—the texture of the coat, the slight furrow in his brow—reveals a deep understanding of human anatomy and expression. It’s a testament to Johnson’s ability to translate observation into compelling visual narrative.

    A Man of His Time: Historical Context

    To fully appreciate “Self Portrait,” it's essential to understand the social and artistic landscape of 1860 America. The nation was grappling with the aftermath of the Civil War, navigating a period of Reconstruction and profound societal change. Johnson’s work reflects this atmosphere of introspection and quiet resilience. He wasn’t interested in grand historical narratives or idealized representations; instead, he focused on capturing the realities of ordinary American life – a theme that would become increasingly prominent in his later genre paintings.

    Johnson's connection to Washington D.C. is particularly significant. He lived and worked there for much of his career, documenting the lives of politicians, businessmen, and everyday citizens. His portraits offer invaluable insights into the social fabric of a rapidly evolving nation. The inclusion of elements like the vase and clock—common features of domestic interiors—further anchors the portrait within this specific context.

    Symbolism and Emotional Resonance

    While seemingly straightforward, “Self Portrait” is rich in subtle symbolism. The red cloth held in Johnson’s hand could represent passion, creativity, or perhaps a theatrical element – reflecting his involvement in stage design and set dressing. The direct gaze of the subject invites contemplation, prompting us to consider not only Johnson's identity but also our own relationship with self-representation and portraiture itself.

    Ultimately, “Self Portrait” is a powerful testament to the enduring appeal of realism as an artistic approach. It’s a painting that speaks to the complexities of human experience – capturing both the outward appearance and the inner life of a man who sought to document his time with honesty, nuance, and a profound appreciation for the beauty of everyday existence.

    Източник: TopImpressionists.com — достъп на 09 Октомври 2026

    Self Portrait — Jonathan Eastman Johnson Част 3 · За това произведение

    Художник и музей

    Художник

    Jonathan Eastman Johnson

    Роден в Ловъл, Великобритания

    A Life Etched in American Realism

    Jonathan Eastman Johnson, a name that resonates with the quiet dignity of 19th-century American life, was far more than simply a painter; he served as a visual chronicler of his era. Born in Lovell, Maine, in 1824, his artistic journey wasn’t one of immediate acclaim but rather a gradual unfolding shaped by familial connections, rigorous training, and an unwavering dedication to portraying the world with honesty, nuance, and a touch of melancholic beauty. His father, Philip Carrigan Johnson, held positions in business and fraternal organizations, instilling in young Eastman a deep sense of community engagement – a value that would profoundly influence his artistic subjects. Early experiences in Fryeburg and Augusta, Maine, provided the foundational bedrock for his understanding of everyday existence, an understanding he meticulously translated onto canvas with remarkable sensitivity. His formal training began as an apprenticeship with a Boston lithographer in 1840, marking the initial step on a career defined by meticulous observation and technical skill. A move to Washington D.C. alongside his family, prompted by his father’s naval appointment, broadened his horizons considerably, exposing him to diverse subjects and experiences that subtly shaped his artistic vision.

    From Dutch Masters to American Scenes

    Johnson's artistic development was a fascinating interplay of influences. Initially drawn to portraiture, he swiftly expanded his repertoire to encompass genre painting – scenes depicting the vibrant tapestry of everyday life in America. This wasn’t merely about representation; it was about capturing the essence of American society, offering glimpses into the lives of ordinary people often overlooked by grander historical narratives. A pivotal moment arrived during the 1850s when Johnson embarked on a journey to The Hague and immersed himself completely in the works of 17th-century Dutch masters. This encounter proved transformative. He absorbed their mastery of composition, lighting, and realism with an almost reverent intensity, earning him the affectionate moniker “The American Rembrandt.” This influence is palpably evident in his paintings – a subdued palette, dramatic chiaroscuro (the use of strong contrasts between light and dark), and an almost photographic attention to detail characterize his mature style. However, Johnson didn’t simply imitate; he skillfully synthesized these European techniques with his uniquely American sensibility, creating works that were both technically brilliant and deeply rooted in the social fabric of his time. He aligned himself firmly with the burgeoning Realist movement, rejecting idealized representations in favor of accurate depictions of everyday life – a commitment that would define his artistic legacy for decades to come.

    Bearing Witness to an Era

    Johnson’s oeuvre is remarkably diverse, encompassing portraits of prominent figures like Abraham Lincoln, Nathaniel Hawthorne, Ralph Waldo Emerson, and Henry Wadsworth Longfellow alongside intimate scenes of domesticity and rural life. Yet, certain works stand out as particularly significant for their social commentary and artistic innovation. Negro Life at the South (1859) remains one of his most celebrated – and controversial – paintings. Depicting African Americans enjoying leisure time in a carefully constructed tableau, it sparked intense debate regarding race relations and the realities of slavery in the antebellum South. The ambiguity inherent in the scene—was it a romanticized portrayal or a subtle critique?—fueled discussions that resonated far beyond the art world. His response to the Civil War was equally poignant. Rather than focusing on battlefield heroics, Johnson turned his attention to the impact of conflict on civilian life, creating haunting images of anxious families and scenes away from the front lines. Ride For Liberty (1862), depicting an enslaved family courageously escaping to freedom amidst the chaos of the war, is a powerful testament to his commitment to social justice. Furthermore, Johnson’s depictions of New England rural life – the rhythmic movements of maple sugar harvesting, the vibrant colors of cranberry picking – celebrated traditional American values and craftsmanship with a quiet reverence, capturing a sense of timelessness and connection to the land.

    A Legacy Beyond the Canvas

    Beyond his artistic achievements, Jonathan Eastman Johnson played a crucial role in shaping the American art landscape. His dedication to genre painting elevated it as a respected form of artistic expression, challenging prevailing notions of what constituted “high art.” He wasn’t merely an artist; he was a cultural advocate, actively promoting and supporting the development of American art. His commitment extended beyond his own practice, culminating in his co-founding of the Metropolitan Museum of Art in New York City – a testament to his belief in the power of art to educate and inspire. His name is inscribed at its entrance, a permanent recognition of his significant contribution to the nation’s artistic heritage. Johnson's influence on American Realism is undeniable; his dedication to depicting everyday life with honesty and detail paved the way for future generations of artists who sought to capture the complexities of the human experience. He died in New York City in 1906, leaving behind a body of work that continues to captivate and inspire, ensuring his enduring recognition as a significant figure in American art history.

    Enduring Significance

    Johnson’s legacy extends far beyond specific paintings or institutional contributions. He was a pioneer in bridging the gap between European artistic traditions and uniquely American subject matter. His ability to imbue ordinary scenes with profound meaning, his willingness to engage with complex social issues, and his unwavering commitment to realism cemented his place as a pivotal figure in 19th-century American art. He wasn’t simply recording life; he was interpreting it, prompting viewers to reflect on their own values and beliefs. His work serves as a powerful reminder that true artistry lies not just in technical skill but also in the ability to connect with the human spirit and illuminate the world around us.

    Музей

    Детройтският институт за изкуства

    Експонирано в Детройт, Съединени Американски Щати

    A City’s Echoes: The Detroit Institute of Arts

    Nestled within the vibrant heart of Midtown Detroit, the Detroit Institute of Arts isn't merely a repository of art; it’s a living testament to resilience, industrial grit, and an enduring spirit. Founded in 1883 as a modest collection of European paintings – a deliberate act of cultural aspiration amidst a burgeoning American city – the DIA has blossomed into one of America’s premier art institutions. More than just walls adorned with masterpieces, it stands as a powerful symbol of civic pride, a crucial cultural anchor for the entire region, and a place where brushstrokes whisper stories of Detroit's complex past and hopeful future. The building itself is an immediate statement – a soaring Beaux-Arts structure of pristine white marble that exudes both serenity and imposing presence. Designed by Paul Philippe Cret in 1932, its grand scale reflects the city’s ambition during its industrial boom, while the deliberate use of natural light throughout the museum was a conscious decision intended to create a contemplative atmosphere for visitors, encouraging them to linger and absorb the beauty surrounding them. Subsequent expansions have skillfully integrated with the original design, maintaining a sense of harmonious balance and spaciousness – a testament to the DIA’s commitment to preserving its legacy while embracing evolution.

    The Heart of a Collection: From European Masters to Global Voices

    At the heart of the Detroit Institute of Arts lies an astonishingly diverse collection, a tapestry woven from threads spanning millennia and continents. The museum's journey began with a focus on European masters—Van Gogh’s emotionally charged self-portraits, capturing the raw intensity of his soul; Monet’s shimmering landscapes, evoking the fleeting beauty of light and water; and Rembrandt’s dramatic portraits, revealing the complexities of human character. However, over time, the DIA has deliberately expanded its scope to encompass American art, African sculptures that speak volumes about ancient civilizations, Asian ceramics reflecting centuries of artistic tradition, Native American textiles imbued with spiritual meaning, and works from across the globe – a truly international panorama of creativity. The recent addition of the General Motors Center for African American Art is particularly significant, solidifying the museum’s commitment to representing the full spectrum of human creativity and fostering dialogue about cultural heritage. Notable holdings include John James Audubon's meticulously detailed ornithological illustrations, offering a glimpse into 19th-century naturalism; George Caleb Bingham’s evocative depictions of rural life in the Midwest, such as “The Checker Players,” which captures a timeless scene of social interaction – a poignant reminder of American community; and Mary Cassatt’s Impressionist paintings, reflecting the vibrant artistic currents of her era. Beyond these iconic works, the museum boasts an impressive collection of ancient Egyptian artifacts – including poignant relief sculptures depicting Mourning Women and the stately Seated Scribe – that invite contemplation on mortality and societal rituals.

    A National Treasure: The Detroit Industry Murals

    Yet, it’s Diego Rivera’s monumental Detroit Industry Murals that arguably define the DIA’s identity. Commissioned for the museum in 1932 as part of the Works Progress Administration (WPA), these colossal frescoes are not simply depictions of a city’s industrial landscape; they are a visceral chronicle of American labor, innovation, and the spirit of a generation grappling with both progress and its consequences. Spanning over 2,000 square feet, the murals depict the evolution of Detroit's manufacturing industry – from iron ore mines to automobile factories – through a series of dynamic scenes populated by diverse workers and engineers. Rivera’s masterful use of color, perspective, and symbolism creates a powerful narrative that celebrates the ingenuity of American industry while also acknowledging the challenges faced by its workforce. Designated as a National Historic Landmark, the Detroit Industry Murals continue to provoke thought and inspire debate about Detroit's complex history and the evolving relationship between labor and capital. They are a testament to Rivera’s artistic vision and a vital reminder of the city’s industrial past – a monumental achievement that resonates with viewers today.

    Beyond European Treasures: A Celebration of American Art

    The DIA’s commitment to showcasing diverse voices extends far beyond its celebrated European collection. The museum consistently ranks among the nation’s top three for its outstanding American art holdings, featuring works by luminaries such as Frederic Church, whose expansive landscapes capture the grandeur of the American wilderness – evoking a sense of awe and wonder; Georgia O'Keeffe, whose iconic close-ups of flowers and desert landscapes redefined modern art, revealing the beauty in the mundane; and John Singleton Copley, known for his portraits of prominent figures from Boston’s elite, offering intimate glimpses into the lives of influential individuals. The museum’s collection also includes significant works by Native American artists, showcasing intricate beadwork and textiles that reflect the rich cultural traditions of various tribes – a testament to their artistry and heritage. The recent acquisition of a stunning collection of Native American pottery further enriches this area of the collection, providing valuable insights into the artistic practices and spiritual beliefs of these communities. The museum’s dedication to preserving and celebrating American art ensures that it remains a vital resource for scholars, artists, and art enthusiasts alike.

    Architectural Grandeur & Ongoing Evolution

    The DIA’s architectural grandeur extends far beyond its imposing façade. The interior spaces are meticulously designed to complement the artwork, creating an atmosphere of reverence and contemplation. The use of light, space, and material is deliberate, enhancing the viewing experience and fostering a deeper connection with the art. Recent renovations have focused on improving visitor amenities, expanding conservation facilities, and creating new spaces for exhibitions and community engagement. The museum’s commitment to accessibility ensures that everyone can enjoy its collections and programs. Furthermore, the DIA remains committed to ongoing expansion and renovation, reflecting Detroit’s own revitalization. The museum's policy of free admission for residents of Wayne, Oakland, and Macomb counties underscores its dedication to making art accessible to all members of the community – a powerful statement of inclusivity and democratic access to culture.

    Къде можете да прочетете повече

    Намерете го онлайн

    QR код, който препраща към страницата за изтегляне на Self Portrait

    topimpressionists.com/bg/art/download/jonathan-eastman-johnson-self-portrait-8YDTTM-en/

    Цитиране на това произведение

    MLA
    Johnson, Jonathan Eastman. Self Portrait. 1860, Детройтският институт за изкуства. https://topimpressionists.com/bg/art/jonathan-eastman-johnson-self-portrait-8YDTTM-en/
    APA
    Johnson, Jonathan Eastman (1860). Self Portrait [Painting]. Детройтският институт за изкуства. https://topimpressionists.com/bg/art/jonathan-eastman-johnson-self-portrait-8YDTTM-en/
    Chicago
    Jonathan Eastman Johnson. Self Portrait. 1860. Детройтският институт за изкуства. https://topimpressionists.com/bg/art/jonathan-eastman-johnson-self-portrait-8YDTTM-en/
    Harvard
    Johnson, Jonathan Eastman (1860) Self Portrait. Детройтският институт за изкуства. Available at: https://topimpressionists.com/bg/art/jonathan-eastman-johnson-self-portrait-8YDTTM-en/

    Източник: TopImpressionists.com — достъп на 09 Октомври 2026

    Self Portrait — Jonathan Eastman Johnson Част 4 · Художник и музей

    Разгледайте внимателно

    Self Portrait — Jonathan Eastman Johnson

    Разгледайте внимателно

    Отговорете с ваши собствени думи. Тук няма грешни отговори — само такива, които можете да обясните.

    1. Какво привлича погледа ви първо и защо?
    2. Кои цветове или форми създават настроението — и какво представлява то?
    3. В нашия каталог това произведение е класифицирано под: portrait, self-portrait, 19th century. Съгласни ли сте с това? Какво бихте добавили или премахнали?
    4. Върнете се към Christmas-Time, The Blodgett Family (1864), разгледани по-рано в това ръководство. Намерете две прилики между него и тази творба, както и една разлика.
    5. Realism: Painting ordinary people and ordinary work exactly as they are, without making them prettier or grander. Къде можете да забележите това в тази творба?

    Вашият отговор

    Напишете кратък абзац за това произведение на изкуството, като използвате фактическата информация от предишните части на това ръководство и вашите отговори по-горе.

    Източник: TopImpressionists.com — достъп на 09 Октомври 2026

    Self Portrait — Jonathan Eastman Johnson Част 5 · Разгледайте внимателно

    Арт викторина

    Self Portrait — Jonathan Eastman Johnson

    Колко добре познавате тази творба?

    Отбележете по един отговор за всеки от 5 въпроса по-долу. Всеки има точно един правилен отговор.

    1. 1. What is the primary subject depicted in Eastman Johnson’s ‘Self Portrait’?

      • A A bustling city street scene
      • B The artist himself, posing formally
      • C A landscape of rural Maine

    2. 2. In what artistic movement is Eastman Johnson’s ‘Self Portrait’ primarily associated?

      • A Impressionism
      • B Realism
      • C Romanticism

    3. 3. The painting 'Self-Portrait' was created in which year?

      • A 1840
      • B 1860
      • C 1906

    4. 4. What is a notable characteristic of Eastman Johnson’s self-portraits?

      • A They are always brightly colored and vibrant.
      • B They often depict him in formal attire and with a serious expression.
      • C They frequently showcase his interest in abstract forms.

    5. 5. Which of the following best describes Eastman Johnson’s artistic style?

      • A Highly stylized and symbolic
      • B Detailed, realistic, and focused on everyday life
      • C Abstract and experimental

    Моят резултат: ____ от 5

    Ключ с отговори — за преподавателя

    Това започва нова печатна страница, така че тя може просто да бъде изключена от копията.

    1A · 2A · 3B · 4A · 5A

    Проверете всеки отговор спрямо каталожния запис за тази картина

    Източник: TopImpressionists.com — достъп на 09 Октомври 2026

    Self Portrait — Jonathan Eastman Johnson Част 6 · Арт викторина

    Въпроси и отговори

    На кой художник се приписва "Self Portrait"?

    „Self Portrait“ е създадена от Jonathan Eastman Johnson. Информацията на тази страница описва оригиналната творба на Jonathan Eastman Johnson.

    В коя година и към кое художествено направление принадлежи "Self Portrait"?

    „Self Portrait“ е създадена през 1860 като част от движението Realism.

    Кой художник и кой стил стоят зад "Self Portrait"?

    Jonathan Eastman Johnson създава „Self Portrait“ в рамките на движението Realism.