Nejoblíbenějším dílem autora Thomas Badger je Thomas Paul (1825), které je vystaveno v instituci National Portrait Gallery, Washington, D.C.. Následují Portrait of Three Boys (1830) a Henry Wadsworth Longfellow (1807-1882) (1857) z platen, která čtenáři znají nejlépe. Náš katalog obsahuje 3 děl umělce Thomas Badger: zde je 3 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. Každý obraz na této stránce lze objednat jako ručně malovanou olejovou reprodukci na lněném plátně, nebo jako umělecký tisk vyrobený v požadovaném rozměru.
3 muzea, v nichž je umístěno nejvíce obrazů z této stránky.
| Muzeum | Město | Díla autora Thomas Badger | Obrazy z tohoto seznamu |
|---|---|---|---|
| Washington, D.C. | 1 | Thomas Paul | |
| New York | 1 | Portrait of Three Boys | |
| Cambridge | 1 | Henry Wadsworth Longfellow (1807-1882) |
Thomas Paul (1825), National Portrait Gallery, Washington, D.C.. Následují Portrait of Three Boys (1830) a Henry Wadsworth Longfellow (1807-1882) (1857).
Thomas Badger, narozen 1792, měl 33 let: dílo Thomas Paul pochází z roku 1825.
V našem katalogu je 3 děl umělce Thomas Badger, datovaných od 1825 do 1857.
Většinou v National Portrait Gallery (Washington, D.C.), Metropolitan Museum of Art (New York) a Harvard Art Museums (Cambridge); výše uvedený seznam obsahuje názvy jednotlivých muzeí a jejich pláten.
Nejstarší plátno se zde datuje do Thomas Paul (1825); nejnovější je z Henry Wadsworth Longfellow (1807-1882) (1857).
Ano. Každý obraz na této stránce lze objednat z jeho vlastní stránky jako ručně malovanou olejovou reprodukci nebo jako umělecký tisk v požadovaném rozměru.
In the bustling artistic circles of nineteenth-century Boston, Thomas Badger carved out a quiet but steady presence. Born in 1792 in the United States, he emerged as a specialist in the art of the portrait, a discipline requiring both technical precision and a keen understanding of human character. His training under John Ritto Penniman provided the foundation for a career spent capturing the likenesses of his contemporaries, from religious leaders to private citizens.
His brushwork was noted for its ability to render the physical world with a sense of truth. In 1849, a still life of his was described by observers as having a reality in its subjects that was rarely seen in such works, even when compared to the highly finished styles of the era. This ability to ground his subjects in a tangible reality became a hallmark of his approach to the canvas.
Badger’s life was intertwined with the social and spiritual fabric of Massachusetts. His work moved through various spheres of influence, documenting individuals who shaped the community. His portfolio includes a diverse range of sitters, reflecting the varied social landscape of the time:
His technical range extended beyond oil on wood panels to more delicate mediums like watercolor on ivory. This versatility allowed him to move between the formal requirements of public portraiture and the intimate scale of miniature works.
The personal life of the artist was marked by both domestic stability and quiet tragedy. He married Rebecca Melendy, and together they raised children, including a son, George Washington, who passed away at the age of sixteen. These personal losses occurred within the same era that Badger was establishing his reputation in the American art scene.
Badger died of lung fever in Cambridge in 1868. While he may not have sought the spotlight of the avant-garde, his contributions remain held in significant collections, including the National Portrait Gallery and the Metropolitan Museum of Art. His work survives as a record of the faces and objects of a transformative period in American history.