Z všech obrazů autora Eric Robertson je nejznámější dílo Wynne Walker, the Artist's Wife (1924). Hned za nimi následují Miss Maidie and Miss Elsie Scott (1915) a Cartwheels (1921). Z 16 děl umělce Eric Robertson v našem katalogu je těchto 16 nejuznávanějších, z nichž každé je uvedeno s datem vzniku, muzeem a příběhem.
Seřazeno podle našeho skóre popularity, které kombinuje počet vyhledávání, návštěv a objednávek u každého díla. Aktualizováno listopad 2026. Každý obraz na této stránce lze objednat jako ručně malovanou olejovou reprodukci na lněném plátně, nebo jako umělecký tisk vyrobený v požadovaném rozměru.
The oil on canvas painting titled Wynne Walker, the Artist's Wife, created in 1924, depicts a woman seated in a composed manner. She is wearing a white veil and has her hands folded in front of her. The subject is positioned looking toward the viewer.
In Eric Robertson's 1915 portrait, Miss Maidie and Miss Elsie Scott sit side-by-side, their presence filling a vertical arrangement that commands the viewer's immediate attention. They are positioned slightly off-center within an intimate interior, creating a sense of quiet dignity. A soft, directional light flows from the upper left, casting gentle shadows that model the contours of their faces and the heavy folds of their garments. This light catches the…
In "Cartwheels" by Eric Robertson, a sense of profound instability grips the viewer. The scene unfolds as a dynamic and somewhat chaotic event, where several human-like forms appear caught in a moment of intense struggle. These figures are positioned amidst a rugged landscape of mountainous terrain and a body of water, their postures suggesting deep exertion and distress. The entire composition is dominated by sharp diagonal lines that slice through…
The Liverpool Cathedral painting by Eric Harald Macbeth Robertson is a stunning representation of the iconic cathedral in Liverpool, United Kingdom. Created in 1930, this oil on canvas…
Objednat toto plátno od $178 →
The Recon-Screen installation consists of a large, openwork facets-screens produced in the system for compiling related segments. They consist of white and red wooden slats that form a…
Přineste toto světlo k sobě domů od $178 →Čtyři témata, která se na těchto plátnech nejčastěji objevují, každé s jedním z jejich nejoblíbenějších příkladů.
5 muzea, v nichž je umístěno nejvíce obrazů z této stránky.
| Muzeum | Město | Díla autora Eric Robertson | Obrazy z tohoto seznamu |
|---|---|---|---|
 Scottish National Gallery of Modern Art |
Édin | 2 | Cartwheels, Fleet Bay, Kirkcudbrightshire |
 Scottish National Portrait Gallery |
Edinburgh | 1 | Miss Maidie and Miss Elsie Scott |
 The Stirling Smith Art Gallery - Museum |
Stirling | 1 | Sheba, the Night and the Moon |
 The Fleming Collection |
Londýn | 1 | Robert the Bruce and de Bohun |
 Centre of Contemporary Art Znaki Czasu |
Toruń | 1 | Recon-Screen\n\nReference Image |
In Eric Robertson's 1915 portrait, Miss Maidie and Miss Elsie Scott sit side-by-side, their presence filling a vertical arrangement that commands the viewer's immediate attention. They are positioned…
The oil on canvas painting titled Wynne Walker, the Artist's Wife, created in 1924, depicts a woman seated in a composed manner. She is wearing a white veil…
The Liverpool Cathedral painting by Eric Harald Macbeth Robertson is a stunning representation of the iconic cathedral in Liverpool, United Kingdom. Created in 1930, this oil on canvas…
Wynne Walker, the Artist's Wife (1924), následovaný dílem Miss Maidie and Miss Elsie Scott (1915) a Cartwheels (1921).
Eric Robertson, narozen 1887, měl 37 let: dílo Wynne Walker, the Artist's Wife pochází z roku 1924.
Wynne Walker, the Artist's Wife, Miss Maidie and Miss Elsie Scott, Cartwheels, Sheba, the Night and the Moon, The Red Tree, Cecile, Despair, Love's Invading, Sheriff Robert Macaulay Smith a Fleet Bay, Kirkcudbrightshire. U každého plátna v uvedeném žebříčku je uveden rok jeho vzniku a muzeum, ve kterém se nachází.
V našem katalogu je 16 děl umělce Eric Robertson, datovaných od 1913 do 1930.
Většinou v Scottish National Gallery of Modern Art (Édin), Scottish National Portrait Gallery (Edinburgh) a The Stirling Smith Art Gallery - Museum (Stirling); výše uvedený seznam obsahuje názvy jednotlivých muzeí a jejich pláten.
V období 1920s, které tvoří 7 z 16 děl na této stránce, mezi nimi i Wynne Walker, the Artist's Wife.
Nejstarší plátno se zde datuje do Sheba, the Night and the Moon (1913); nejnovější je z Liverpool Cathedral (1930).
Oil On Canvas, použito u 3 z 16 děl na této stránce.
Muzeum Scottish National Gallery of Modern Art, Édin se vlastní 2 děl z této stránky, mezi nimiž jsou i Cartwheels a Fleet Bay, Kirkcudbrightshire.
Ano. Každý obraz na této stránce lze objednat z jeho vlastní stránky jako ručně malovanou olejovou reprodukci nebo jako umělecký tisk v požadovaném rozměru.
To wander through the works of Eric Harald Macbeth Robertson is to embark on a journey through the mist-shrouged landscapes and profound emotional depths of the early twentieth century. Though his name often evokes the rugged, untamed spirit of the Scottish Highlands, Robertson was an artist of complex layers, blending architectural precision with the ethereal whispers of Symbolism. Born in 1887, his life and art were defined by a delicate tension between the tangible world of structure and the intangible realm of human emotion. While some may view him as a figure caught between eras, his ability to capture both the grandeur of historical landmarks and the intimate psychological nuances of his subjects marks him as a truly singular talent in the annals of British and Canadian art history.
The foundations of Robertson’s aesthetic were laid much earlier than his most celebrated works. Trained initially in the disciplined world of architecture, he possessed an innate understanding of scale, proportion, and the structural integrity of the environments he would later immortalize on canvas. This architectural eye provided a unique scaffolding for his more expressive impulses. As his focus shifted from the rigid lines of design to the fluid possibilities of oil painting and sculpture, he found himself deeply moved by the Pre-Raphaelite movement and the evocative power of Symbolism. He drew immense inspiration from figures such as Gustave Moreau, learning to use color and light not merely to replicate reality, but to evoke a sense of mystery and spiritual longing.
Robertson’s artistic evolution was significantly shaped by his connections within the vibrant art circles of Scotland and beyond. His friendship with the artist John Duncan played a pivotal role in refining his ability to weave narrative into visual imagery, allowing him to explore themes that resonated with the Romantic tradition. This period of his life was marked by an intense preoccupation with capturing the "psychological depth" of his subjects—a pursuit that saw him moving seamlessly between the monumental and the minute. Whether he was sculpting the human form or painting a sprawling cathedral, there was always an underlying search for the essence of the subject.
His technical mastery is perhaps most strikingly evident in his 1930 masterpiece, Liverpool Cathedral. In this work, Robertson transcends mere architectural documentation; through the use of bold brushstrokes and a vivid, luminous palette, he breathes life into the stone. The painting does not simply show a building; it captures an atmosphere of historical weight and spiritual majesty. This ability to imbue physical structures with a sense of living history became a hallmark of his style, as seen in other notable works such as:
The life of Eric Harald Macbeth Robertson was one of profound artistic devotion, even as he navigated the complexities of a changing world. His work remains a bridge between the structured traditions of the nineteenth century and the more expressive, emotive movements of the twentieth. By integrating the meticulous detail of his architectural training with the dreamlike qualities of Symbolism, he created a visual language that was uniquely his own. He did not merely paint landscapes or sculpt figures; he captured the very breath of the landscapes and the pulse of the figures he depicted.
Today, Robertson’s legacy continues to resonate through collections such as the Museum of Liverpool and various Canadian institutions. His ability to navigate themes of love, despair, and grandeur ensures that his work remains relevant to contemporary viewers seeking beauty in the intersection of reality and imagination. He stands as a reminder that true art does not just reflect the world we see, but invites us to feel the unseen forces that shape it.
