Walker Everett, 1904 – 1968
2 av Walker Everetts mest kjente malerier
Trespassing (1964) er maleriet Walker Everett er mest kjent for; det tilhører Smithsonian American Art Museum, Washington, D.C.. Vår katalog inneholder 2 verk av Walker Everett. Her er de 2 mest kjente, med årstall, museum og historien bak hvert lerret.
Rangert etter vår popularitetsscore, som kombinerer søk, besøk og bestillinger for hvert verk. Oppdatert October 2026.
- Født · død
- 1904 – 1968
- Verker i vår katalog
- 2
- Mest kjente
- Trespassing (1964)
- Flest verk hos
- Smithsonian American Art Museum
De ti mest kjente maleriene av Walker Everett
Der Walker Everett sine lerreter henger
Museet som innehar flest av maleriene på denne siden.
| Museum | By | Verker av Walker Everett | Malerier fra denne listen |
|---|---|---|---|
 Smithsonian American Art Museum |
Washington, D.C. | 2 | Trespassing, Freight Station |
Walker Everetts mest kjente lerreter, år for år
De daterte lerretene til Walker Everett her spenner over kun 3 år, fra 1964 til 1966: ett år etter det andre.
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1964
1 av 2
Trespassing
-
1966
Lerret 2 av 2Freight Station
Walker Everetts lerreter, spørsmål for spørsmål
Hvilket maleri er Walker Everett mest kjent for?Les svaret
Trespassing (1964)
Trespassing: hvor gammel var Walker Everett da det ble malt?Les svaret
Walker Everett, født i 1904, var 60 år gammel: Trespassing er fra 1964.
Hvor mange malerier har Walker Everett skapt?Les svaret
2 verk av Walker Everett finnes i vår katalog, datert fra 1964 til 1966.
Hvor henger Walker Everetts mest kjente malerier i dag?Les svaret
Hovedsakelig i Smithsonian American Art Museum (Washington, D.C.); listen ovenfor navngir hvert museum og deres lerreter.
Hvilket berømt lerret av Walker Everett kom først, og hvilket kom sist?Les svaret
Det eldste lerretet her er fra Trespassing (1964); det nyeste er fra Freight Station (1966).
Hvilke malerier av Walker Everett er i Smithsonian American Art Museum sin samling?Les svaret
Smithsonian American Art Museum, Washington, D.C. har 2 av verkene på denne siden, inkludert Trespassing og Freight Station.
Møt maleren: Walker Everett
The Quiet Observer of the American Landscape
Walker Everett lived a life that mirrored the steady, unhurried pace of the scenes he chose to paint. Born in the United States in 1904, he spent his years observing the textures of everyday life and the structural bones of the changing landscape. His work does not shout for attention; instead, it invites a closer look at the quiet corners of the world, finding weight and presence in the mundane details of architecture and industry.
His approach to the canvas was grounded in a sense of place. He had a way of capturing the stillness of a moment, whether it was the tension of a boundary or the heavy silence of a transit hub. There is a certain honesty in how he handled his subjects, treating a simple building or a stretch of land with the same gravity and respect as any grand monument.
A Focus on Structure and Space
The works that remain of his career offer a glimpse into a mind preoccupied with the intersection of human construction and the natural environment. His paintings often deal with the way light and shadow define the edges of our world. Through his use of oil on canvas, he explored several specific themes:
- The intersection of private boundaries and public spaces.
- The heavy, functional geometry of industrial architecture.
- The stillness found within transit and freight environments.
In his 1964-1965 work, Trespassing, he examined the subtle tensions of space. A few years later, in 1966, he turned his attention to the Freight Station, a piece that captures the stark, utilitarian beauty of a railroad setting. These works demonstrate a consistent interest in how we inhabit and move through the spaces we build.
Legacy and Recognition
Though he passed away in 1968, Everett's vision remains preserved in significant collections. His ability to find meaning in the structural and the ordinary earned him a place in the Smithsonian American Art Museum in Washington, D.C. His paintings were part of the collections gifted by Maurice Massaro, ensuring that his specific way of seeing the American landscape would be kept for those who value the quiet strength of a well-observed scene.