Най-обичаната картина на Уилиъм Салтер е Sir Henry Murray (1837), която се намира в Национална портретна галерия, Лондон. The Waterloo Banquet (1836) и Arthur Wellesley (1769–1852), 1st Duke of Wellington (1839) следват след тях сред най-познатите картини на читателите. Нашият каталог съдържа 88 произведения на Уилиъм Салтер: ето 88-те най-известни, всяко с неговата година, неговия музей и това, което го прави незабравимо.
Класирани според нашия коефициент за популярност, който съчетава търсенията, посещенията и поръчките за всяко произведение. Обновено Октомври 2026. Всяка картина на тази страница може да бъде поръчана като ръчно рисувано маслено репродукция върху ленен хол или като висококачествен арт принт, изработен според избран от Вас размер.
This nineteenth-century portrait depicts Sir Henry Murray in a three-quarter profile view, presented from the waist up against a dark, atmospheric background. The subject is positioned slightly off-center, creating a sense of presence within the vertical composition. He is dressed in a military tunic of a vibrant, saturated red, which serves as the primary focal point of the work. The uniform is detailed with gold accents appearing on the epaulettes,…
The room is filled with the heavy scent of wax and old wood. Light spills from a large window, washing over a table crowded with the remnants of a celebration. Men in formal attire and women in delicate lace lean toward one another, their faces caught in the amber glow of a social ritual. A portrait of a man in military uniform watches from the wall, a silent witness to…
The painting depicts Arthur Wellesley, the 1st Duke of Wellington, positioned against a coastal landscape. He is shown from the waist up, oriented toward the viewer but with his gaze directed toward the distance. He wears a military uniform characterized by a high collar and a visible tie. A sword hangs at his side, and a second sword is positioned further back in the composition. The background consists of a…
This portrait by William Salter captures Don Miguel Ricardo de Alava. The work dates to about 1840. It presents the likeness of a man who navigated the turbulent currents of nineteenth-century politics and warfare. As a Spanish general and statesman, the subject occupied a position of significant weight, eventually serving as the Prime Minister of Spain in 1835.
Четирите найчесто срещани сюжета на тези платна, всеки с най-обичания си пример.
5 музея, които притежават най-голям брой от картините на тази страница.
| Музеи | Град | Творения на Уилиъм Салтер | Картини от този списък |
|---|---|---|---|
 Национална портретна галерия |
Лондон | 78 | Sir Henry Murray, Don Miguel Ricardo de Alava, Richard Egerton |
 National Maritime Museum |
Лондон | 1 | Arthur Wellesley (1769–1852), 1st Duke of Wellington |
 Коледж Гертфорд |
Oxford | 1 | Richard Michell (1805–1877), First Principal of Hertford College (1874) |
 Honiton Town Council |
Honiton | 1 | The Entombment of Christ |
 Музей Торвалдсен |
Копенхаген | 1 | Count Carlo Andrea Pozzo di Borgo |
This nineteenth-century portrait depicts Sir Henry Murray in a three-quarter profile view, presented from the waist up against a dark, atmospheric background. The subject is positioned slightly off-center,…
This portrait by William Salter captures Don Miguel Ricardo de Alava. The work dates to about 1840. It presents the likeness of a man who navigated the turbulent…
Sir Henry Murray (1837), Национална портретна галерия, Лондон. Следват The Waterloo Banquet (1836) и Arthur Wellesley (1769–1852), 1st Duke of Wellington (1839).
Уилиъм Салтер, роден в 1804, е на 33 години: Sir Henry Murray е от 1837 г.
Sir Henry Murray, The Waterloo Banquet, Arthur Wellesley (1769–1852), 1st Duke of Wellington, Don Miguel Ricardo de Alava, Richard Egerton, Stephen Galway Adye, Sir John Elley, Sir Andrew Francis Barnard, Sir Colin Halkett и William George Harris, 2nd Baron Harris. Всяко платно в горната класация е придружено с годината на създаване и музея, в който се намира.
В нашия каталог са включени 88 произведения на Уилиъм Салтер, датирани от 1825 до 1874.
Предимно в Национална портретна галерия (Лондон), National Maritime Museum (Лондон) и Коледж Гертфорд (Oxford); списъкът по-горе изброява всеки музей и неговите платна.
В 1840s, който включва 55 от 88 произведения на тази страница, Don Miguel Ricardo de Alava сред тях.
Най-старото платно тук е от John Jeffreys Pratt (1759–1840), Marquis Camden (1825); най-новото е от Richard Michell (1805–1877), First Principal of Hertford College (1874) (1874).
Portrait (12), Military (11) и Formal (8), разпределени в 88 произведения на тази страница.
Oil On Canvas, използван в 2 от 88 произведения на тази страница.
Neoclassicism и Academic realism, както показват картините на тази страница.
В Национална портретна галерия, Лондон се съхраняват 78 от произведенията на тази страница, сред които са Sir Henry Murray, Don Miguel Ricardo de Alava и Richard Egerton.
Да. Всяка картина на тази страница може да бъде поръчана от нейната собствена страница като ръчно рисувано маслено репродукция или като висококачествен арт-принт в избран от Вас размер.
In the heart of the nineteenth century, as Britain navigated the profound shifts of the Industrial Revolution and the expansion of its global influence, William Salter emerged as a painter capable of capturing the very soul of Victorian grandeur. Born in 1804 in the quiet town of Honiton, Devon, Salter’s early life was rooted in the traditional English landscape, yet his artistic spirit was destined for much larger stages. His journey from a student at Honiton Grammar School to a respected figure in the London art scene was paved with an unyielding dedication to classical mastery and an insatiable intellectual curiosity. Unlike many of his contemporaries who sought fame through mere trend-following, Salter’s approach was one of deep, scholarly immersion, blending the precision of a documentarian with the emotional depth of a true storyteller.
The foundation of Salter's technical brilliance was laid far from the English coast. In 1822, he sought the rigorous training offered by the studios of James Northcote, a connection that would prove transformative for his developing style. This period of apprenticeship allowed him to absorb the nuances of light and shadow, preparing him for his subsequent Grand Tour of Italy. While traveling through the artistic heartlands of Florence and Padua, Salter did not merely observe; he engaged with the classical ideals of the Renaissance. It was during these Italian sojourn that works such as Socrates before his Judges were conceived, earning him significant acclaim among European intellectuals and establishing his reputation as an artist capable of handling complex, historical narratives with grace and psychological insight.
The zenith of Salter’s career arrived in 1836 with the unveiling of his most ambitious and celebrated undertaking: The Waterloo Banquet. Commissioned by the Duke of Wellington himself, this colossal work was far more than a simple commemorative painting; it was a tableau vivant of historical magnitude. The canvas serves as a breathtaking window into a singular moment of British triumph, meticulously depicting approximately eighty distinguished individuals gathered to celebrate the victory at Waterloo. To execute such a feat, Salter had to possess an extraordinary capacity for observation, capturing not only the regalia and the magnificent silver chandelier by Domingos Antonio de Sequeira but also the subtle interpersonal dynamics of the assembled elite.
Within this masterpiece, one finds the hallmark of Salter’s technique—a seamless blend of realism and atmosphere. He managed to convey the sheer scale of the event without sacrificing the individual dignity of his subjects. The painting, which remains a crown jewel of Apsley House, stands as a testament to his ability to synthesize historical documentation with artistic grandeur. Through his brush, the celebratory energy of the banquet is preserved for eternity, allowing modern viewers to feel the weight of the era's political and social significance.
Beyond the monumental scale of his historical compositions, Salter’s repertoire included a range of intimate portraits that showcased his mastery of character. His ability to render textures—the heavy crimson of a military uniform or the delicate lace of a lady's gown—made him a sought-after painter for the British aristocracy and military officers alike. Works such as Sir John Elley and Sir Colin Campbell demonstrate his skill in using chiaroscuro to create dramatic, lifelike presences that command the viewer's attention.
Salter’s contribution to art history extends beyond the canvas; he was an educator and a traveler whose life reflected the intellectual vigor of his age. His legacy is defined by several key pillars:
When William Salter passed away on 22 December 1875, he left behind a body of work that remains an essential archive of British identity. His paintings continue to serve as vital touchstones for understanding the elegance, the complexity, and the monumental ambitions of a nation at the height of its power.
