Najomiljenije delo umetnika Daphne Todd je Professor Barry Supple, Master (1984–1993) (1991), koje se nalazi u muzeju st Catharine's College, Cambridge. Duncan Stewart i Bill Sykes, Peter Strawson, George Cawkwell and Hartmut Pogge von Strandmann su sledeći na listi najpoznatijih platana koje čitaoci najbolje poznaju. Naš katalog sadrži 18 dela umetnika Daphne Todd: evo 18 najpoznatijih, od kojih svako nosi godinu nastanka, naziv muzeja i opis onoga što ga čini nezaborotljivim.
Rangirano prema našem koeficijentu popularnosti, koji kombinuje pretrage, posete i porudžbine za svako delo. Ažurirano новембар 2026.
Četiri teme koje se najčešće pojavljuju na ovim platnima, svaka sa svojim najomiljenijim primerom.
8 muzeja u kojima se nalazi najviše slika sa ove stranice.
| Muzej | Grad | Radovi umetnika Daphne Todd | Slike iz ovog spiska |
|---|---|---|---|
| Cambridge | 4 | Robin and Lesley Monckton, Farmers, Ron and Ray Pett, Butchers, Trevor Tasker, Cesspit Emptier | |
| Oksford | 2 | Bill Sykes, Peter Strawson, George Cawkwell and Hartmut Pogge von Strandmann, John (Wyndham) Albery (b.1936), FRS, Master (1989–1997) | |
| Cambridge | 1 | Professor Barry Supple, Master (1984–1993) | |
| Oksford | 1 | Duncan Stewart | |
| London | 1 | Professor Peter Mortimore (b.1942), OBE, PhD, FBPS, Director (1994–2000) | |
| Oksford | 1 | Jim Murden (b.1946), Chef (1976–2011), and Kevin Egleston (b.1946), Butler (1981–2011) | |
| Nottingham | 1 | Councillor Dennis Pettitt, Leader of the County Council (1981–2001) | |
| London | 1 | Professor Allan Templeton, President of the Royal College of Obstetricians and Gynaecologists (2004–2007) |
Professor Barry Supple, Master (1984–1993) (1991), st Catharine's College, Cambridge. Prate ih Duncan Stewart i Bill Sykes, Peter Strawson, George Cawkwell and Hartmut Pogge von Strandmann.
Daphne Todd, rođen/a 1947, imao/la je 44 godina: Professor Barry Supple, Master (1984–1993) datira iz 1991.
Professor Barry Supple, Master (1984–1993), Duncan Stewart, Bill Sykes, Peter Strawson, George Cawkwell and Hartmut Pogge von Strandmann, Sir Austin Pearce (1921–2004), CBE, Evan Roderic Bowen (1913–2001), President of St David's University College (1977–1992), Sir (Philip) Christopher Ondaatje, Spike Milligan, John (Wyndham) Albery (b.1936), FRS, Master (1989–1997), Robin and Lesley Monckton, Farmers i Ron and Ray Pett, Butchers. Svako platno u gornjem rangiranju sadrži godinu nastanka i naziv muzeja.
U našem katalogu se nalazi 18 dela umetnika Daphne Todd, datiranih od 1990 do 2011.
Većinom u Girton College (Cambridge), University College (Oksford) i st Catharine's College (Cambridge); gornja lista navodi svaki muzej i njegova platna.
U 1990s, koji obuhvata 6 od 18 dela na ovoj stranici, među njima je i Professor Barry Supple, Master (1984–1993).
Najstarije platno ovde je iz Sir Austin Pearce (1921–2004), CBE (1990) godine; najnovije je iz Jim Murden (b.1946), Chef (1976–2011), and Kevin Egleston (b.1946), Butler (1981–2011) (2011) godine.
Muzej Girton College, Cambridge čuva 4 dela sa ove stranice, među kojima su i Robin and Lesley Monckton, Farmers, Ron and Ray Pett, Butchers i Trevor Tasker, Cesspit Emptier.
In the realm of contemporary British portraiture, few names command as much respect and intrigue as Daphne Todd. Born on March 27, 1947, Todd has spent her career not merely painting faces, but excavating the very essence of human character. Her work is a profound meditation on identity, captured through a mastery of oil painting that balances unflinching realism with a delicate, psychological depth. To look upon a Todd portrait is to encounter a subject stripped of pretense, presented with a clarity that feels both timeless and startlingly immediate.
Todd’s artistic journey began with a rigorous classical foundation, shaped by her formative years in York and her intensive studies at the Slade School of Fine Art between 1964 and 1971. Under the disciplined guidance of Sir William Coldstream, she mastered the technical nuances of light, shadow, and form. This period of academic excellence was marked by early triumphs, including the British Institute Award for Figurative Painting and the Tonks Drawing Prize, signaling the arrival of a formidable talent. Her ability to translate the physical world into emotive oil compositions would become the hallmark of her enduring legacy.
Beyond her technical prowess, Daphne Todd’s historical significance lies in her role as a trailblazer for women in the fine arts. She famously shattered gendered glass ceilings within the Royal Society of Portrait Painters, serving as its inaugural female president from 1994 to 2000. This achievement was not merely a personal milestone but a transformative moment for the institution, signaling a shift toward a more inclusive era of British portraiture. Her influence extended into the very fabric of London’s cultural landscape, earning her the title of Freeman of the City of London and an OBE for her contributions to the arts.
Her career is punctuated by moments of profound recognition that highlight her versatility and courage. While many portraitists seek only the flattering, Todd has demonstrated a fearless commitment to truth, even in the most challenging subject matter. Notable milestones include:
The magic of Todd’s oeuvre lies in its breadth. Her subjects range from the academic and the distinguished to the everyday worker, such as the poignant study of Trevor Tasker, Cesspit Emptier. Whether she is painting a figure in a richly furnished library, like Sir Philip Christopher Ondaatje, or exploring the quiet contemplation of Professor Barry Supple, her brushwork remains consistent in its devotion to truth. She possesses a rare ability to weave subtle symbolism into her compositions, allowing the setting and the light to speak as loudly as the sitter’s expression.
Today, Daphne Todd remains a pivotal figure whose work continues to resonate within the halls of the National Portrait Gallery and private collections worldwide. Her legacy is one of uncompromising vision—a career dedicated to the belief that every face holds a story worth telling, and every shadow contains a truth waiting to be revealed. Through her eyes, British life is not just observed; it is immortalized with grace, dignity, and an unforgettable sense of humanity.