Nejoblíbenějším dílem autora Daphne Todd je Professor Barry Supple, Master (1984–1993) (1991), které je vystaveno v instituci st Catharine's College, Cambridge. Následují Duncan Stewart a Bill Sykes, Peter Strawson, George Cawkwell and Hartmut Pogge von Strandmann z platen, která čtenáři znají nejlépe. Náš katalog obsahuje 18 děl umělce Daphne Todd: zde je 18 nejznámějších, z nichž každé uvádí svůj rok vzniku, muzeum a důvod, proč je nezapomenutelné.
Seřazeno podle našeho skóre popularity, které kombinuje počet vyhledávání, návštěv a objednávek u každého díla. Aktualizováno listopad 2026.
Čtyři témata, která se na těchto plátnech nejčastěji objevují, každé s jedním z jejich nejoblíbenějších příkladů.
8 muzea, v nichž je umístěno nejvíce obrazů z této stránky.
| Muzeum | Město | Díla autora Daphne Todd | Obrazy z tohoto seznamu |
|---|---|---|---|
| Cambridge | 4 | Robin and Lesley Monckton, Farmers, Ron and Ray Pett, Butchers, Trevor Tasker, Cesspit Emptier | |
| Oxford | 2 | Bill Sykes, Peter Strawson, George Cawkwell and Hartmut Pogge von Strandmann, John (Wyndham) Albery (b.1936), FRS, Master (1989–1997) | |
| Cambridge | 1 | Professor Barry Supple, Master (1984–1993) | |
| Oxford | 1 | Duncan Stewart | |
| Londýn | 1 | Professor Peter Mortimore (b.1942), OBE, PhD, FBPS, Director (1994–2000) | |
| Oxford | 1 | Jim Murden (b.1946), Chef (1976–2011), and Kevin Egleston (b.1946), Butler (1981–2011) | |
| Nottingham | 1 | Councillor Dennis Pettitt, Leader of the County Council (1981–2001) | |
| London | 1 | Professor Allan Templeton, President of the Royal College of Obstetricians and Gynaecologists (2004–2007) |
Professor Barry Supple, Master (1984–1993) (1991), st Catharine's College, Cambridge. Následují Duncan Stewart a Bill Sykes, Peter Strawson, George Cawkwell and Hartmut Pogge von Strandmann.
Daphne Todd, narozen 1947, měl 44 let: dílo Professor Barry Supple, Master (1984–1993) pochází z roku 1991.
Professor Barry Supple, Master (1984–1993), Duncan Stewart, Bill Sykes, Peter Strawson, George Cawkwell and Hartmut Pogge von Strandmann, Sir Austin Pearce (1921–2004), CBE, Evan Roderic Bowen (1913–2001), President of St David's University College (1977–1992), Sir (Philip) Christopher Ondaatje, Spike Milligan, John (Wyndham) Albery (b.1936), FRS, Master (1989–1997), Robin and Lesley Monckton, Farmers a Ron and Ray Pett, Butchers. U každého plátna v uvedeném žebříčku je uveden rok jeho vzniku a muzeum, ve kterém se nachází.
V našem katalogu je 18 děl umělce Daphne Todd, datovaných od 1990 do 2011.
Většinou v Girton College (Cambridge), University College (Oxford) a st Catharine's College (Cambridge); výše uvedený seznam obsahuje názvy jednotlivých muzeí a jejich pláten.
V období 1990s, které tvoří 6 z 18 děl na této stránce, mezi nimi i Professor Barry Supple, Master (1984–1993).
Nejstarší plátno se zde datuje do Sir Austin Pearce (1921–2004), CBE (1990); nejnovější je z Jim Murden (b.1946), Chef (1976–2011), and Kevin Egleston (b.1946), Butler (1981–2011) (2011).
Muzeum Girton College, Cambridge se vlastní 4 děl z této stránky, mezi nimiž jsou i Robin and Lesley Monckton, Farmers, Ron and Ray Pett, Butchers a Trevor Tasker, Cesspit Emptier.
In the realm of contemporary British portraiture, few names command as much respect and intrigue as Daphne Todd. Born on March 27, 1947, Todd has spent her career not merely painting faces, but excavating the very essence of human character. Her work is a profound meditation on identity, captured through a mastery of oil painting that balances unflinching realism with a delicate, psychological depth. To look upon a Todd portrait is to encounter a subject stripped of pretense, presented with a clarity that feels both timeless and startlingly immediate.
Todd’s artistic journey began with a rigorous classical foundation, shaped by her formative years in York and her intensive studies at the Slade School of Fine Art between 1964 and 1971. Under the disciplined guidance of Sir William Coldstream, she mastered the technical nuances of light, shadow, and form. This period of academic excellence was marked by early triumphs, including the British Institute Award for Figurative Painting and the Tonks Drawing Prize, signaling the arrival of a formidable talent. Her ability to translate the physical world into emotive oil compositions would become the hallmark of her enduring legacy.
Beyond her technical prowess, Daphne Todd’s historical significance lies in her role as a trailblazer for women in the fine arts. She famously shattered gendered glass ceilings within the Royal Society of Portrait Painters, serving as its inaugural female president from 1994 to 2000. This achievement was not merely a personal milestone but a transformative moment for the institution, signaling a shift toward a more inclusive era of British portraiture. Her influence extended into the very fabric of London’s cultural landscape, earning her the title of Freeman of the City of London and an OBE for her contributions to the arts.
Her career is punctuated by moments of profound recognition that highlight her versatility and courage. While many portraitists seek only the flattering, Todd has demonstrated a fearless commitment to truth, even in the most challenging subject matter. Notable milestones include:
The magic of Todd’s oeuvre lies in its breadth. Her subjects range from the academic and the distinguished to the everyday worker, such as the poignant study of Trevor Tasker, Cesspit Emptier. Whether she is painting a figure in a richly furnished library, like Sir Philip Christopher Ondaatje, or exploring the quiet contemplation of Professor Barry Supple, her brushwork remains consistent in its devotion to truth. She possesses a rare ability to weave subtle symbolism into her compositions, allowing the setting and the light to speak as loudly as the sitter’s expression.
Today, Daphne Todd remains a pivotal figure whose work continues to resonate within the halls of the National Portrait Gallery and private collections worldwide. Her legacy is one of uncompromising vision—a career dedicated to the belief that every face holds a story worth telling, and every shadow contains a truth waiting to be revealed. Through her eyes, British life is not just observed; it is immortalized with grace, dignity, and an unforgettable sense of humanity.