1
Andrew Meikle
Käsitööna maalatud õlireproduction alates $178 28 × 36 cm
Originaadi suurusega $528 100 × 125 cm Telli originaalkoguses →
A. Reddock, 1774 – 1842
A. Reddock: 1 tuntumat teost
Kõikidest A. Reddock maalidest on kõige kuulsam Andrew Meikle (1811); seda saab näha National Portrait Gallery-is, London. Meie kataloogis olevatest 1 teosest on A. Reddock kõige kuulsamad 1 teost, millest iga on esitatud koos kuupäeva, muuseumi ja luguga.
Reiting põhineb meie populaarsusindeksil, mis koondab iga teose otsingud, külastused ja tellimused. Uuendatud november 2026. Iga selle lehekülje maali saab tellida kas linatele kangale käsitsi maalatuna nagu õlimaalide reproduktsiooni või valitud suuruses fine art trükkina.
- Sündinud · surnud
- 1774 – 1842
- Meie kataloogis olevad teosed
- 1
- Kõige tuntud
- Andrew Meikle (1811)
- Enamasti teoseid on
- National Portrait Gallery
A. Reddock kõige kuulsam 10 maalist
Kuna A. Reddocki lamedad pildid rippuvad siin
Muuseum, milles on kõige rohkem sellel lehel esitatud maaleid.
| Muuseumid | Linn | A. Reddock teosid | Selle nimekirja maalid |
|---|---|---|---|
 National Portrait Gallery |
London | 1 | Andrew Meikle |
Aasta-aastalt: A. Reddock kõige kuulsamad lamedad tõid
Ühe aasta, 1811, kõik A. Reddock dateeritud lamedad pildid on sellel lehel: siin on need, kõige kuulsemad esimesena.
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1811
Reiting: 1 / 1
Andrew Meikle
Teie küsimused A. Reddock maalide kohta – vastused siin
Milline on kunstniku A. Reddock kõige kuulsam teos?Loe vastust
Andrew Meikle (1811)
Kui vana A. Reddock oli teose Andrew Meikle ajal?Loe vastust
1774 aastal sündinud A. Reddock oli 37 aastat vanus: Andrew Meikle on pärinev aastast 1811.
Kui palju on A. Reddock teoseid teada?Loe vastust
Kataloogist leiate 1 teost kunstnikult A. Reddock.
Millistes muuseumides asuvad A. Reddock kõige tuntumad maalid?Loe vastust
Peamiselt National Portrait Gallery (London) asukohas; ülaltoetud nimekiri esitab kirja iga muuseumi ja selle tablood.
Kas saan tellida A. Reddock maali käsitsi maalatud koopia?Loe vastust
Jah. Iga maali sellel lehel saab tellida oma lehelt kas käsitsi maalatuna õli-reproductionina või suurepärase kunstiprentina valitud suuruses.
A. Reddock: kunstniku lugu
The Hand of the Scottish Portraitist
In the quiet corners of the Scottish landscape during the late eighteenth and early nineteenth centuries, the brush of A. Reddock moved to capture the likenesses of a changing era. Born in 1774, this painter emerged from a time when the dignity of the individual was increasingly sought through the medium of oil and canvas. Reddock, often associated with the town of Falkirk, dedicated his life to the art of the portrait, seeking to fix the character of his subjects upon the surface of the work.
His life was one of quiet observation. While the world around him underwent the tremors of industrial and social shifts, Reddock focused his gaze upon the faces of those who shaped the era. His work was not merely about the likeness of a person, but about the presence they held in the room. Through his hands, the fleeting essence of a sitter was rendered into something permanent.
A Legacy of Likeness
The records of his skill are found in the portraits he left behind, some of which have been preserved within the halls of Glasgow Life Museums. One such work, a portrait of Andrew Meikle, reveals the artist's ability to document the men of his time. Meikle, an engineer credited with the invention of the threshing machine, was captured by Reddock's hand, linking the artist to the very spirit of Scottish innovation. In such works, we see the intersection of art and history, where the painter records the faces of those who altered the course of industry.
Reddock's technical approach was rooted in the traditions of his station. He worked with a focus on the essential features that defined a person's status and character. His ability to render the likeness of figures like Lady Hannah Anne Gardiner Maxwell suggests a painter who understood the nuances of social standing and the subtle play of light upon a subject's countenance. He remained active in his craft until his passing in 1842, leaving behind a body of work that serves as a window into the Scottish social fabric of the early nineteenth century.