Det mest elskede maleri af Daphne Todd er Professor Barry Supple, Master (1984–1993) (1991), som hænger på st Catharine's College i Cambridge. Duncan Stewart og Bill Sykes, Peter Strawson, George Cawkwell and Hartmut Pogge von Strandmann følger derefter blandt de lærreder, som læserne kender bedst. Vores katalog indeholder 18 værker af Daphne Todd: her er de 18 mest berømte, hver med årstal, museum og hvad der gør dem mindeværdige.
Rangordnet efter vores popularitetsscore, som kombinerer søgninger, besøg og ordrer for hvert værk. Opdateret november 2026.
De fire motiver, der optræder hyppigst på disse lærreder, hver med sit mest elskede eksempel.
De 8 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Daphne Todd | Malerier fra denne liste |
|---|---|---|---|
| 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 | |
| London | 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. Duncan Stewart og Bill Sykes, Peter Strawson, George Cawkwell and Hartmut Pogge von Strandmann følger efter.
Daphne Todd, født i 1947, var 44 år gammel: Professor Barry Supple, Master (1984–1993) er fra 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 og Ron and Ray Pett, Butchers. Hvert lærred i den ovenstående rangliste er angivet med årstal og museum.
18 værker af Daphne Todd er i vores katalog, dateret fra 1990 til 2011.
Primært i Girton College (Cambridge), University College (Oxford) og st Catharine's College (Cambridge); listen ovenfor nævner hvert museum og dets lærreder.
I 1990s, som udgør 6 af de 18 værker på denne side, herunder Professor Barry Supple, Master (1984–1993).
Det tidligste lærred her er Sir Austin Pearce (1921–2004), CBE (1990); det seneste er Jim Murden (b.1946), Chef (1976–2011), and Kevin Egleston (b.1946), Butler (1981–2011) (2011).
Girton College, Cambridge har 4 af værkerne på denne side, herunder Robin and Lesley Monckton, Farmers, Ron and Ray Pett, Butchers og 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.