Portrait of a Man Dressed in Blue (1795) este pictura pentru care Abraham Daniel este cel mai cunoscut; aceasta face parte din colecția Musée Cognacq-Jay, Paris. Portrait of a Gentleman și Okänd dam completează trioul celor mai iubite picturi. Catalogul nostru cuprinde 4 lucrări ale lui Abraham Daniel. Iată cele 4 cele mai faimate, însoțite de anul realizării, muzeul și povestea fiecărei pânze.
Clasate în funcție de scorul nostru de popularitate, care combină numărul de căutări, vizitele și comenzile pentru fiecare operă. Actualizat Noiembrie 2026. Fiecare pictură de pe această pagină poate fi comandată sub formă de reproducere pictată manual în ulei pe pânză de in, sau ca print de artă, realizat la dimensiunea aleasă de dumneavoastră.
An elderly gentleman gazes out from an intimate oval space, his presence felt through a quiet, dignified stillness. He sits in a three-quarter view, his features emerging from a dark, indistinct background that pushes his face into the light. A soft, white powdered wig catches the glow, framing a countenance marked by wisdom and a calm, steady expression. The light falls gently across his skin, creating a subtle chiaroscuro that…
Cele 3 muzee care dețin cele mai multe dintre picturile de pe această pagină.
| Muzee | Oraș | Lucrări lui Abraham Daniel | Picturi din această listă |
|---|---|---|---|
| New Haven | 2 | Portrait of a Gentleman, Portrait of a Gentleman | |
| Paris | 1 | Portrait of a Man Dressed in Blue | |
| Stockholm | 1 | Okänd dam |
Piesele datate ale lui Abraham Daniel de pe această pagină aparțin tuturor anului 1795: iată-le, în ordinea celebrității lor.
Portrait of a Man Dressed in Blue (1795), Musée Cognacq-Jay, Paris. Urmează Portrait of a Gentleman și Okänd dam.
În catalogul nostru se află 4 lucrări ale lui Abraham Daniel.
În principal în Yale Center for British Art (New Haven), Musée Cognacq-Jay (Paris) și Nationalmuseum (Stockholm); lista de mai sus enumeră fiecare muzeu și picturile sale.
Yale Center for British Art, New Haven deține 2 dintre lucrările de pe această pagină, printre care se numără Portrait of a Gentleman și Portrait of a Gentleman.
Da. Orice pictură de pe această pagină poate fi comandată de pe pagina sa dedicată, sub formă de reproducere pictată manual în ulei sau ca print de artă, în dimensiunea aleasă de dumneavoastră.
In the small, busy workshops of Bath, Abraham Daniel worked with a focus that required a steady hand and a keen eye for the minute. He was a man of many crafts, moving between the roles of engraver, jeweler, and miniaturist. His life was shaped by the delicate tools of his trade, the kind of work that demands a person sit close to a subject, observing the subtle shifts in light on a face or the texture of a garment. He was part of a family of makers, learning the intricacies of miniature painting from his mother, a skill that would define his professional identity.
His presence in the local art scene was marked by a specific professional label. He and his brother Joseph both operated under the name "Mr. Daniel of Bath," a shared identity that saw them competing for the same commissions. This competition likely sharpened the precision of his work, as each brother sought to capture the likeness of his sitters with a clarity that could be held in the palm of a hand. His work was not about large, sweeping gestures, but about the small, intimate details that define a person's character in a tiny, private space.
The technical demands of his various occupations required a versatility that few could maintain. To work as both a jeweler and a miniaturist is to understand the weight of metal and the fragility of pigment. His skill set included:
His output was often quiet and unsigned, a common trait for those who focused more on the craft than the fame. Yet, his hand is identifiable in the way he handled light and shadow in his portraits. In a portrait of a man dressed in blue, the color is not merely a hue but a presence, rendered with a carefulness that respects the material it represents. Even in his less certain works, like the portrait of a gentleman or the depiction of an unknown lady, there is a sense of a man who understood how to translate a human presence into a compact, lasting form.
Abraham Daniel died in 1806, leaving behind a body of work that resides in collections from Paris to Stockholm. These pieces, though small, have traveled far from the workshops of Bath. His ability to capture a likeness—seen in works like the portrait of a young girl—ensured that his technical skill survived long after his tools were set aside. He remains a figure of the British Jewish community of his time, a maker whose life was measured in the fine lines of an engraving and the soft strokes of a miniature brush.