William Taskerの全作品の中で最も有名なのはLord Westminster's Cardinal Puff, with Sam Darling Up, Winning the Tradesman's Plate, Chester (1839)であり、ニューヘイブンのイェール英国美術館に展示されています。 それに次いで、The Liverpool and National Steeplechase at Aintree, 1843 (1843)とNational Defense (1921)が続きます。 当カタログに含まれるWilliam Taskerの3点の作品のうち、これら3点は最も名高い作品であり、制作年、所蔵美術館、そしてその背景となる物語とともにご紹介します。
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絵画を最も多く所蔵している 2 の美術館
| 美術館 | 都市 | William Taskerの作品 | このリストの絵画 |
|---|---|---|---|
| ニューヘイブン | 2 | Lord Westminster's Cardinal Puff, with Sam Darling Up, Winning the Tradesman's Plate, Chester, The Liverpool and National Steeplechase at Aintree, 1843 | |
| ニューヨーク | 1 | National Defense |
Lord Westminster's Cardinal Puff, with Sam Darling Up, Winning the Tradesman's Plate, Chester (1839)(イェール英国美術館, ニューヘイブン)。続いてThe Liverpool and National Steeplechase at Aintree, 1843 (1843)、National Defense (1921)が続きます。
William Taskerによる作品が3点、1839年から1921年にかけてのものがカタログに掲載されています。
主にイェール英国美術館 (ニューヘイブン) と メトロポリタン美術館 (ニューヨーク)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。
ここにある最も古いキャンバスはLord Westminster's Cardinal Puff, with Sam Darling Up, Winning the Tradesman's Plate, Chester (1839)、最も新しいものはNational Defense (1921)です。
イェール英国美術館, ニューヘイブンには、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Lord Westminster's Cardinal Puff, with Sam Darling Up, Winning the Tradesman's Plate, Chester と The Liverpool and National Steeplechase at Aintree, 1843も含まれています。
Born in New York City, William Tasker spent his life observing the way light settles upon the land. His brushwork followed the shifts of the Impressionist movement, focusing on the fleeting qualities of color and the atmosphere of the American landscape. He did not merely paint scenes; he captured the way light moves through a space, often working with oil on canvas to build texture and depth. His hands were accustomed to the quiet work of capturing the ephemeral, turning a specific moment in time into a permanent record of light and shadow.
His career was marked by a steady presence in the American art scene. He was part of a generation that helped bring new ways of seeing to the United States, participating in significant exhibitions that changed how people viewed local scenery. His work moved through the galleries of his time, finding its way into permanent collections where his specific handling of color remains visible.
Tasker’s work captures the energy of specific moments, often focusing on the relationship between a subject and its surroundings. His paintings move between the quietude of the landscape and the structured motion of life. His oil on canvas works include:
In National Defense, there is a sense of weight and purpose. The paint carries a certain gravity, moving away from purely decorative scenes toward something more substantial. He had a way of grounding his subjects within a tangible reality, using color and light to define the space they occupy. His presence in the 1913 Armory Show helped bring these Impressionist sensibilities to a wider American audience.
By the time of his death in 1933, Tasker had left behind a body of work that speaks to the evolution of American painting. His involvement in the Armory Show of 1913 placed him at the center of a major shift in artistic thought. He was there when the old ways of seeing were being challenged by new, more experimental approaches. His paintings remain in places like the Metropolitan Museum of Art, where the brushstrokes still hold the light he once sought to capture. He remains a figure of the Impressionist movement, remembered for how he translated the atmosphere of his surroundings onto the canvas.