Beatrix Knighting Esmond (1857)はAugustus Eggの代表作として知られる作品であり、ロンドンにあるテート・ブリテンに収蔵されています。 L'Amante (1839)とStudy for "Come Rest in this Bosom my own Stricken Dear" (1844)が加わり、最も愛されている3枚のキャンバスが揃いました。 Augustus Eggによる作品は、当カタログに26点収められています。ここでは、制作年、所蔵美術館、そして各作品の背景とともに、最も有名な26点をご紹介します。
各作品の検索数、閲覧数、および注文数を組み合わせた当サイトの人気スコアに基づきランキングを作成しています。最終更新：11月 2026 このページに掲載されている各作品は、リネンキャンバスに手描きで制作する油彩複製画、またはご希望のサイズに合わせて作成するファインアートプリントとしてご注文いただけます。
Beatrix Knighting Esmond is an oil on canvas by Augustus Egg. Executed in 1857, the work measures 86.9 x 117.1cm. The painting belongs to the tradition of historical genre painting, capturing a specific moment of ritual and social hierarchy.
A man reclines in a state of heavy, perhaps intoxicated, surrender. He lies against the soft contours of a landscape, his limbs heavy and relaxed. Beside him, two women anchor the foreground. One holds a stringed instrument, her fingers poised near the wood of the lute. The scene is rendered in grayscale, a world of deep blacks and bright highlights that strips away the distraction of color to focus on…
The oil on board captures a heavy, silent weight. Two figures are locked in a tight, intimate embrace, their forms merging within a dark, enclosed interior. A single source of light, appearing to emanate from a window on the upper right, brushes against the woman's face and the curve of the embrace. The rest of the room recedes into near-total darkness. It is a moment of profound grief or consolation,…
A single dining table anchors the room, its surface a stage for a sudden, sharp conflict. Three figures occupy the space in a tight, triangular tension. A man stands to the left, his body leaning forward, his expression caught in a moment of startled realization. Opposite him, a woman sits, her gaze fixed and intense, her posture mirroring the psychological weight of the scene. A third figure completes the arrangement,…
The Life of Buckingham is a painting by Augustus Egg. This work emerged in 1855, a year when the artist was establishing his presence within the London art scene. The canvas captures a specific moment of social drama, rendered with the precision of a man born to a family of skilled gunsmiths in London, United Kingdom. His brushwork carries the discipline of his lineage.
Feria at Seville is an oil painting by Augustus Egg. Created about 1850, the work originates from a period when the artist was active in the London art scene. Egg, born in London, United Kingdom, in 1816, was a prominent figure in the mid-nineteenth-century British art community until his death in 1863.
The composition presents a dimly lit bedroom scene set at night. On the left, a dark, shadowed interior contains a canopy bed and a small table. A woman is seated in profile, wearing a black mourning dress. Her posture is upright as she gazes toward a window. In her lap, a second figure is slumped in a state of exhaustion or grief, dressed in bright yellow and orange clothing. To…
The scene is set within a Victorian drawing-room, a space defined by heavy textures and saturated colors. A central round table, draped in a deep crimson cloth, divides the composition. To the right, a man sits in a chair, his posture fixed in a state of stillness. He holds a letter in his hand. On the floor in the foreground, a woman lies prostrate upon a dark green carpet. Her…
Beatrix Knighting Esmond is an oil painting by the British artist Augustus Egg, executed in 1857. This work captures a specific moment of ritual and social hierarchy, drawing its narrative inspiration from the 1852 novel The History of Henry Esmond. The scene focuses on the protagonist, Henry Esmond, as he is knighted by Beatrix. This gesture is performed in gratitude for his protection of her brother, Lord Castlewood.
A somber, mid-length portrait captures a young woman in a three-quarter view, her gaze directed downward in a moment of quiet melancholy. The composition focuses on the subject from the waist up, set against a dark, textured background that pushes her pale skin and white lace collar into sharp relief. Light enters from the upper left, casting soft shadows across the right side of her face and defining the delicate…
The shadows of a heavy, nocturnal landscape define Past and Present, No. 3, a work that emerges from the brush of Augustus Egg. Created in 1858, this oil-on-canvas…
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これらのキャンバスに最も頻繁に描かれた4つの主題と、それぞれの代表作。
このページに掲載されている絵画を最も多く所蔵している 8 の美術館
| 美術館 | 都市 | Augustus Eggの作品 | このリストの絵画 |
|---|---|---|---|
 クリーブランド美術館 |
クリーブランド | 2 | Study for "Come Rest in this Bosom my own Stricken Dear", The Life of Buckingham |
 イェール英国美術館 |
ニューヘイブン | 2 | The Life Of Buckingham, The Death Of Buckingham |
 テート・ブリテン |
ロンドン | 1 | Beatrix Knighting Esmond |
 ロイヤル・コレクション |
ロンドン | 1 | L'Amante |
 Government Art Collection |
ロンドン | 1 | Feria at Seville |
 ナショナル・ポートレート・ギャラリー |
ロンドン | 1 | Unknown woman, formerly known as Florence Nightingale |
 アシュモリアン美術館 |
オックスフォード | 1 | Desdemona |
 Fitzwilliam Museum |
1 | The Farmyard |
A man reclines in a state of heavy, perhaps intoxicated, surrender. He lies against the soft contours of a landscape, his limbs heavy and relaxed. Beside him, two…
The oil on board captures a heavy, silent weight. Two figures are locked in a tight, intimate embrace, their forms merging within a dark, enclosed interior. A single…
Beatrix Knighting Esmond is an oil on canvas by Augustus Egg. Executed in 1857, the work measures 86.9 x 117.1cm. The painting belongs to the tradition of historical…
Beatrix Knighting Esmond (1857)（テート・ブリテン, ロンドン）。続いてL'Amante (1839)、Study for "Come Rest in this Bosom my own Stricken Dear" (1844)が続きます。
1816年に生まれたAugustus Eggは41歳でした：Beatrix Knighting Esmondは1857年の作品です。
Beatrix Knighting Esmond, L'Amante, Study for "Come Rest in this Bosom my own Stricken Dear", Scene from ‘The Devil upon Two Sticks’, The Life of Buckingham, Feria at Seville, Past and Present, No. 2, Past and Present, No. 1, Beatrix Knighting Esmond と Unknown woman, formerly known as Florence Nightingale。上記のランキングに掲載されている各キャンバスには、制作年と所蔵美術館が記載されています。
Augustus Eggによる作品が26点、1839年から1862年にかけてのものがカタログに掲載されています。
主にクリーブランド美術館 (クリーブランド), イェール英国美術館 (ニューヘイブン) と テート・ブリテン (ロンドン)に所蔵されています。上記のリストには、各美術館とその所蔵作品が記載されています。
このページに掲載されている全26作品のうち、7作品が1850sの作品であり、その中にはBeatrix Knighting Esmondが含まれます。
ここにある最も古いキャンバスはL'Amante (1839)、最も新しいものはThe Travelling Companions (1862)です。
このページに掲載されている26点の作品におけるWoman (10), Man (6) と Interior (3)
このページに掲載されている全26作品のうち、7作品にOil On Canvasが使用されています。
クリーブランド美術館, クリーブランドには、このページに掲載されている作品のうち2点が所蔵されており、その中にはStudy for "Come Rest in this Bosom my own Stricken Dear" と The Life of Buckinghamも含まれています。
はい。このページに掲載されているすべての絵画は、各作品の個別ページから、手書きの油彩複製画、またはお好みのサイズでのファインアートプリントとしてご注文いただけます。
In the heart of nineteenth-century London, amidst the burgeoning social complexities of the Victorian era, Augustus Leopold Egg emerged as a painter who did more than merely capture light and shadow; he captured the very conscience of his age. Born in 1816 to a family of distinguished gunsmiths, Egg’s upbringing provided him with a foundation of discipline that would later manifest in the meticulous, almost surgical precision of his brushwork. As a student at the Royal Academy, he began to cultivate a style that bridged the gap between classical tradition and a burgeoning modern realism. His early years were marked by an intense engagement with literary subjects, where he sought to translate the written word into visual narratives that resonated with the moral sensibilities of his contemporaries.
Egg was not a solitary figure in the London art scene; rather, he was a vital thread in the social fabric of the artistic community. As a prominent member of The Clique, an influential group of artists including Richard Dadd, Egg participated in a movement that challenged the stale academicism of the time. This period of his life was defined by a profound connection to literature and social activism. A close friend of Charles Dickens, Egg shared a vision of art as a vehicle for philanthropy and social commentary. Together, they established the Guild of Literature and Art, an ambitious endeavor designed to provide a safety net for struggling creators, proving that his commitment to the "moral" in art was not merely aesthetic, but deeply humanitarian.
The true genius of Augustus Leopold Egg lies in his ability to weave complex, often harrowing, social narratives into the fabric of a single composition. While many of his peers focused on idyllic landscapes or static portraits, Egg turned his gaze toward the domestic tragedies and hidden fractures within middle-class Victorian life. His work often utilized chiaroscuro—the dramatic interplay of light and dark—to mirror the psychological tension of his subjects. This technique allowed him to imbue even a quiet room with an atmosphere of impending doom or profound introspection, as seen in works like A Young Lady at her Toilet, where the shadows seem to hold the weight of unspoken secrets.
Nowhere is his mastery of narrative more evident than in his most celebrated achievement, the modern triptych Past and Present. In this groundbreaking work, Egg utilized a cinematic approach to storytelling long before the medium of film existed. By presenting three interconnected scenes, he guided the viewer through a temporal journey:
As his health began to decline, Egg sought refuge in the warmer climates of continental Europe, yet his artistic spirit remained tethered to the themes of identity and duality. His later works, such as Travelling Companions, suggest a move toward more ambiguous, symbolic territory, exploring the concept of the self through near-identical figures. This evolution demonstrates that while he was rooted in the moral realism of the Hogarthian tradition, he was also deeply receptive to the emerging Pre-Raphaelite movement, sharing an interest in color theory and intense detail with artists like William Holman Hunt.
The historical significance of Augustus Leopold Egg extends far beyond his technical skill. He remains a pivotal figure who successfully navigated the transition from romanticized illustration to a gritty, socially conscious realism. By treating the canvas as a stage for moral inquiry, he challenged the Victorian public to look beneath the polished surface of their domestic lives. His legacy is found in every artwork that dares to use beauty to expose truth, and in his enduring ability to make the viewer an active participant in the unfolding drama of the human condition.
