Sir Daniel Macnee, 1806 - 1882. Artist (1870) is het schilderij waar James Macbeth het meest om bekendstaat; het maakt deel uit van de collectie van het Scottish National Portrait Gallery, Edinburgh. Onze catalogus bevat 1 werken van James Macbeth. Hier zijn de 1 bekendste, inclusief het jaar, het museum en het verhaal achter elk canvas.
Gerangschikt op basis van onze populariteitsscore, die de zoekopdrachten, bezoeken en bestellingen voor elk werk combineert. Bijgewerkt in november 2026. Elk schilderij op deze pagina kan worden besteld als een handgeschilderde oliereductie op linnen canvas, of als een fine art print, uitgevoerd in de door u gekozen afmeting.
Het museum met de meeste schilderijen op deze pagina.
| Museum | Stad | Werken van James Macbeth | Schilderijen uit deze lijst |
|---|---|---|---|
| Edinburgh | 1 | Sir Daniel Macnee, 1806 - 1882. Artist |
De gedateerde doeken van James Macbeth op deze pagina stammen allemaal uit 1870: hier zijn ze, in volgorde van bekendheid.
Sir Daniel Macnee, 1806 - 1882. Artist (1870)
James Macbeth, geboren in 1847, was 23 jaar oud: Sir Daniel Macnee, 1806 - 1882. Artist dateert uit 1870.
1 werken van James Macbeth staan in onze catalogus.
Voornamelijk in Scottish National Portrait Gallery (Edinburgh); de bovenstaande lijst vermeldt elk museum en de bijbehorende doeken.
Ja. Elk schilderij op deze pagina kan via de eigen pagina worden besteld als een handgeschilderd olieverfreproductie, of als een fine art print, in de door u gekozen afmeting.
The year is 1847 in Glasgow. James Macbeth enters a world where the lines of Scottish identity are being drawn through brushstrokes and ink. He is born into a family of creators; his father, Norman Macbeth, is a portrait painter, and his brothers, Robert Walker and Henry, will also find their way into the arts. This lineage is not merely a coincidence of birth but a shared language of form and color. James moves between the creative hubs of London and Scotland, establishing a presence in both the metropolitan galleries and the local scenes of his homeland.
His work often turns toward the human figure and the quietude of domestic life. In his portrait of Sir Daniel Macnee, he captures the likeness of a contemporary artist, a choice that places him directly within the professional circles of his era. He does not merely record a face; he engages with the social fabric of the mid-nineteenth century.
As the 1880s approach, a shift occurs in the atmosphere of his compositions. His painting A quiet afternoon signals a departure from strict realism toward something more atmospheric. This work anticipates the mood of Aestheticism, a movement that prioritizes sensory experience and a specific kind of contemplative stillness. The scene is not one of action, but of a lingering, suspended moment.
His output is defined by two primary modes of expression:
The trajectory of James Macbeth is cut short in 1891. He leaves behind a body of work that bridges the gap between traditional Scottish portraiture and the emerging sensibilities of the late Victorian period. His presence in the National Galleries of Scotland ensures that his contribution to the visual history of his country remains documented, even as the movements he helped anticipate continue to evolve.