Queen victoria je slika po kojoj je Sir David Wilkie najpoznatiji. The First Council of Queen Victoria (1838) i Augustus, Duke of Sussex (1773-1843) (1833) upotpunjuju triju najomiljenijih platna. Naš katalog sadrži 214 dela umetnika Sir David Wilkie. Evo 100 najpoznatijih, sa godinom nastanka, muzejom i pričom o svakom platnu.
Rangirano prema našem koeficijentu popularnosti, koji kombinuje pretrage, posete i porudžbine za svako delo. Ažurirano октобар 2026. Svaku sliku sa ove stranice možete naručiti kao ručno oslikano ulje na platnu od lana ili kao umetnički print, izrađen u dimenzijama koje sami odaberete.
A bust-length portrait captures the monarch in a moment of composed dignity. Positioned slightly off-center, she gazes directly at the viewer, her expression steady and solemn. The composition relies on a dark, somber palette of browns and blacks, which pushes the figure forward through subtle shifts in light. Accents of gold, cream, and pale blue emerge from her attire, providing a sharp contrast against the shadowed background. This lighting, descending…
In this 1838 oil painting, we find ourselves within the Red Saloon at Kensington Palace, witnessing a quiet yet monumental shift in British history. The scene captures the very first meeting of the Privy Council following the death of King William IV and the subsequent accession of his eighteen-year-old niece, Victoria. There is a palpable sense of gravity in the room, as senior politicians from both the Whig and Tory…
Augustus, Duke of Sussex, is presented in a full-length portrait that emphasizes his stature through a vertical composition. He stands in the center-right foreground, draped in a deep crimson cloak that flows around his figure. Beneath the cloak, he wears a red tartan kilt, a deliberate choice of traditional Scottish Highland dress. To his left, a large hunting dog rests, grounding the subject within a rugged, natural landscape. The background…
Sir David Wilkie (1785–1841) produced this Self-Portrait toward the end of his life. Created ca. 1840, the work presents the artist as the primary subject. It functions as a direct representation of the painter himself.
The Holy Family with Saint Elizabeth and Saint John the Baptist emerges from the shadows of 1841, a quiet moment captured by the Scottish artist David Wilkie. In this intimate scene, the figures gather closely, their attention drawn to the shared focus of an open book. The composition pulls the viewer into a tight, triangular arrangement where light seems to emanate from the very pages being read, illuminating faces and…
is a genre painting by the British artist David Wilkie, executed in 1814. The oil on panel work captures a Scottish pedlar visiting an English cottage to sell his wares, specifically bonnets and various textiles. The scene focuses on a domestic transaction where a man in the window reaches reluctantly into his pocket to pay for the cloth his wife desires to buy.
The oil painting titled Ceres in search of Proserpine captures a moment of divine distress. Created by the artist David Wilkie, this mythological work focuses on the figure of Ceres. In 1803, the piece earned a premium of ten guineas at the Trustees' Academy. It remains a significant early work from that year.
In the quietude of A Woody Landscape, painted in 1822, we are invited to step into a world where time seems to slow to the rhythm of nature itself. Sir David Wilkie, a master of capturing the profound beauty found in the everyday, presents us with a serene rural scene that transcends mere topography. The composition is anchored by dense, majestic trees that flank a central clearing, acting as natural…
The painting depicts two men within a library setting. One man is shown reading from a book while the other man looks on, appearing to be engaged in discussing or sharing information with him. The room contains several books scattered throughout the scene, with some placed on shelves and others lying open on tables. In addition to the books, there are two cups visible, one near the left side of…
This captivating scene, titled "Nelson sealing the Copenhagen letter," transports us directly into the charged atmosphere of early nineteenth-century diplomatic life. At its heart lies a portrait moment imbued with palpable significance. We observe a gentleman, likely a figure of considerable military or political standing, engaged in the solemn act of affixing a seal to an important correspondence. The setting is intimate yet formal—a gathering around a substantial dining table…
In the grand tapestry of nineteenth-century British art, few works capture the intersection of personal fate and historical grandeur as poignantly as Sir David Wilkie’s “Josephine and the…
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In the heart of Sir David Wilkie’s 1818 masterpiece, Chelsea Pensioners Reading the Waterloo Dispatch, we find ourselves transported to a pivotal moment in British history. This detailed…
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In this evocative oil study by the celebrated Scottish master Sir David Wilkie, we are invited into the intimate presence of a man defined by duty and distinction.…
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In this monumental portrait, David Wilkie captures King George IV in a moment of poised authority. The monarch is depicted in formal Highland dress, a choice that speaks…
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To stand before A Highland Family is to be transported across the misty moors of nineteenth-century Scotland. This painting, executed by the masterful hand of Sir David Wilkie…
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A young man sits in a space defined by shadow and light, his presence commanding a quiet, psychological proximity. He is positioned slightly off-center, his body turned toward…
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David Wilkie’s “The Letter of Introduction,” completed in 1813, stands as a quintessential example of Romantic genre painting—a movement that championed the portrayal of everyday life with profound…
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Sir David Wilkie’s “The Burial of the Scottish Regalia,” completed in 1836, stands as a cornerstone of Victorian genre painting and a poignant reflection on national identity. More…
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In the quiet, bustling moments before a grand celebration begins, there exists a unique kind of magic—a suspension of time where anticipation meets reality. Sir David Wilkie’s 1838…
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The painting An Incident in the Life of Queen Elizabeth I depicts a portrait of Queen Elizabeth I within a room inhabited by several individuals. The Queen is…
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There is a profound stillness in this bust-length portrait of Captain James Wilkie. Looking at him, one feels the weight of a life lived with a certain quiet…
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Sir David Wilkie's "Sotiri, Dragoman of Mr Colquhoun," painted in 1840, isn’t merely a portrait; it’s a meticulously crafted snapshot of Victorian society, brimming with subtle social commentary…
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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 Sir David Wilkie | Slike iz ovog spiska |
|---|---|---|---|
 Scottish National Gallery |
Edinburgh | 28 | Distraining for Rent, John Knox Dispensing the Sacrament at Calder House, Josephine and the Fortune Teller |
 Royal Collection |
London | 16 | The First Council of Queen Victoria, Prince Charles of Leiningen (1804-1856), A Roman Princess Washing the Feet of Pilgrims |
 Scottish National Portrait Gallery |
Edinburg | 8 | General Sir David Baird (1757–1829), Soldier (study for Sir David Baird Discovering the Body of Tippoo Sahib), Sir Robert Liston (1742–1836), Diplomat, Portrait of Andrew Geddes |
 Yale Center for British Art |
New Haven | 7 | Self-Portrait, The Pedlar, Chelsea Pensioners Receiving the Gazette Announcing the Battle of Waterloo |
 National Portrait Gallery |
London | 4 | Sir David Wilkie, Abraham Raimbach |
 National Gallery of Ireland |
Dublin | 3 | Maria Arabella, Marchioness of Lansdowne and her Page, Portrait of Daniel O'Connell as Governor of the National Bank |
 Auckland Art Gallery Toi o Tāmaki |
Oklend | 2 | Ceres in search of Proserpine, The Rev Edward Irving When a Young Man |
 Guildhall Art Gallery |
London | 2 | Matthias Prime Lucas, Lord Mayor of London (1827), Matthias Prime Lucas, Lord Mayor of London (1827) and President of St Batholomew's Hospital |
The oil painting titled Ceres in search of Proserpine captures a moment of divine distress. Created by the artist David Wilkie, this mythological work focuses on the figure…
is a genre painting by the British artist David Wilkie, executed in 1814. The oil on panel work captures a Scottish pedlar visiting an English cottage to sell…
In the quietude of A Woody Landscape, painted in 1822, we are invited to step into a world where time seems to slow to the rhythm of nature…
In this 1838 oil painting, we find ourselves within the Red Saloon at Kensington Palace, witnessing a quiet yet monumental shift in British history. The scene captures the…
Sir David Wilkie (1785–1841) produced this Self-Portrait toward the end of his life. Created ca. 1840, the work presents the artist as the primary subject. It functions as…
Queen victoria, a zatim The First Council of Queen Victoria (1838) i Augustus, Duke of Sussex (1773-1843) (1833).
Queen victoria, The First Council of Queen Victoria, Augustus, Duke of Sussex (1773-1843), Self-Portrait, The Holy Family with Saint Elizabeth and Saint John the Baptist, The Pedlar, Ceres in search of Proserpine, A Woody Landscape, Washington Irving in the Archives of Seville i Nelson sealing the Copenhagen letter. Svako platno u gornjem rangiranju sadrži godinu nastanka i naziv muzeja.
U našem katalogu se nalazi 214 dela umetnika Sir David Wilkie, datiranih od 1803 do 1841.
Većinom u Scottish National Gallery (Edinburgh), Royal Collection (London) i Scottish National Portrait Gallery (Edinburg); gornja lista navodi svaki muzej i njegova platna.
U 1830s, koji obuhvata 32 od 100 dela na ovoj stranici, među njima je i The First Council of Queen Victoria.
Najstarije platno ovde je iz Ceres in search of Proserpine (1803) godine; najnovije je iz The Holy Family with Saint Elizabeth and Saint John the Baptist (1841) godine.
Portrait (9), Men (7) i Victorian era (7), kroz svih 100 dela na ovoj stranici.
Oil On Canvas, korišćeno u 14 od 100 dela na ovoj stranici.
Romanticism, kao što pokazuju platna na ovoj stranici.
Muzej Scottish National Gallery, Edinburgh čuva 10 dela sa ove stranice, među kojima su i Distraining for Rent, John Knox Dispensing the Sacrament at Calder House i Josephine and the Fortune Teller.
Da. Svaku sliku sa ove stranice možete naručiti sa njene posebne stranice kao ručno oslikano ulje na platnu ili kao umetnički print, u veličini koju odaberete.
U raskošnom tapiseriji britanske umetnosti devetnaestog veka, malo je niti koje blistaju sa toliko topline i ljudske empatije kao one koje je utkao Sir David Wilkie. Rođen u skromnom selu Pitlesi u Fifeu, Vilki je potekao iz okruženja prožetog tihim dostojanstvom ruralne Škotske. Kao sin parohijskog sveštenika, njegov put ka platnu prvobitno nije bio predodređen tradicijom, ali je njegova bujna strast prema umetnosti pokazala se kao neoboriva sila. Njegovo rano obrazovanje u Edinburškoj akademiji (Trustees’ Academy), pod vođstvom Džona Grejama, pružilo mu je rigorozne osnove, ali su upravo njegove posete sajmovima i pijacama istinski definisale njegovu viziju. Beležeći prolazne, karakteristične trenutke svakodnevnog života, razvio je duboku sposobnost da duh scene prenese u svoju skicu, pronalazeći izvanrednu lepotu u najobičnijim motivima.
Vilkijevo umetničko putovanje obeleženo je nepokolebljivom upornošću i jedinstvenom sposobnošću da uzdigne svakodnevicu na nivo visoke umetnosti. Dok su mnogi njegovi savremenici tražili slavu u grandioznim istorijskim narativima ili mitološkim alegorijama, Vilki je svoj pogled okrenuo ka običnom čoveku. Postao je majstor žanrovskog slikarstva, stvarajući živopisne mikrokosmose društva kroz dela koja su obilovala karakterom i anegdotičnim detaljima. Njegova rani radovi bili su pod snažnim uticajem umetnika poput Aleksandera Karsea i Dejvida Alana, čiji je fokus na scene iz skromnog života rezonovao sa njegovim sopstvenim senzibilitetom. Ova posvećenost realizmu omogućila mu je da uhvati nijanse ljudskog iskustva — suptilne izraze emocija, intimne interakcije između pojedinaca i atmosferske detalje koji su u svaki sloj platna udahivali život.
Kako se njegova reputacija širila iz Škotske do užurbane umetničke scene Londona, Vilkijev stil je prošao kroz veličanstvenu evoluciju. Njegovo rano delo posedovalo je oštar, precizan i živahan dodir, često karakterisan suptilnim bojama i srebrno-sivim tonovima koji podsećaju na holandske žanrovske slikare poput Teniersa i Ostadea. Međutim, kako je sazrevao, njegov potez četkice postajao je širi, a paleta luminoznija, prihvatajući bogatstvo tonova i snažnu upotrebu boje koja je odražavala bujanje pokreta romantizma. Ova tranzicija omogućila mu je da se uhvati u koštac čak i sa monumentalnijim temama, ne gubeći psihološku dubinu koja je bila njegov zaštitni znak. Njegovo imenovanje za Glavnog slikara kraljevskog dvora (Principal Painter in Ordinary) kralja Vilijama IV i kraljice Viktorije stoji kao svedočanstvo ove neprevaziđene veštine, obezbedivši mu prestižne porudžbine za kraljevske portrete i istorijske scene.
Obim Vilkijevog delovanja je zaista izvanredan, protežući se od intimnog do epskog. Njegovo remek-delo, Čelsi penzioneri čitaju vatrenicu iz Vaterloa, ostaje jedno od njegovih najslavnijih dostignuća, nudeći uranjanje u prikaz drugarstva i zajedničke teskobne nade koji i danas očarava posetioce u Apsli kući (Apsley House). Pored ovih narativnih trijumfa, briljirao je u istorijskim slikama poput Sir Dejvid Bejrd otkriva telo sultana Tipu Sahiba, pa čak i uspešno je dočarao naučnu atmosferu intelektualnih težnji u delima kao što je Vašington Irving u arhivima Sevilje. Bilo da je reč o prikazu bučnog seoskog festivala ili formalne kraljevske ličnosti, Vilkijevo delo ostaje ukorenjeno u specifično škotskom senzibilitetu i nepokolebljivoj posvećenosti hvatanju suštine života onakvog kakav jeste.
