تحديث نوفمبر 2026 · مُرتبة حسب مؤشر شعبيتنا (عمليات البحث، والزيارات، والطلبات لكل عمل فني) · 44 أعمال لـ Robert Brough في كتالوجنا
إجابة سريعة
اللوحة رقم واحد بين أعمال Robert Brough هي The Artist at Seventeen Years of Age (1889). في المركزين الثاني والثالث: Monsignor Charles Tochetti (1897) و Sir James Murray (1850–1933) (1903). يضم كتالوجنا 44 من أعمال Robert Brough. وتُعد الـ 33 المذكورة هنا هي الأكثر شهرة، مرتبة حسب الأهمية، مع ذكر سنة وتواجد كل لوحة أصلية في المتاحف.
In this 1889 oil on canvas, we find a young Robert Brough looking back at himself. It is a close-up, bust-length portrait that captures the artist at seventeen, a period of profound transition. The grayscale tones and muted palette lend the work a certain melancholy, as if we are witnessing a private thought caught in mid-air. There is a stillness here, a sense of a soul contemplating its own direction…
In this 1897 portrait, we find ourselves in a quiet, intimate encounter with Monsignor Charles Tochetti. The subject is presented in a close-up, three-quarter view, his presence filling the frame with a sense of settled dignity. There is a profound stillness here, a moment captured where the light catches the deep lines of a life lived with purpose. The background remains dark and indistinct, a deliberate choice that pushes the…
The portrait of Sir James Murray, executed in 1903, presents a formal study of the subject in a monochromatic palette. He is positioned slightly to the left of the center, facing forward with a direct gaze directed toward the viewer. The figure is dressed in a dark suit, which provides a solid, structured silhouette against the background. A doorway is visible behind him on the right, creating a receding plane…
A seated woman occupies the center of this 1897 oil on canvas, her gaze directed toward the viewer from a position of relaxed formality. She sits within an indistinct interior, the background rendered in soft, blended brushstrokes that lack sharp definition. The composition is anchored by the subject's upper body, while elements of her immediate surroundings provide subtle narrative cues:
Peter Esslemont, Lord Provost of Aberdeen (1880–1882) (copy after George Reid)1900
اطلب هذه اللوحة ابتداءً من $170 →
John Adrian Louis (1860–1908), 7th Earl of Hopetoun and 1st Marquis of Linlithgow1904 · West Lothian Council
اختر المقاس ابتداءً من $170 →
المواضيع الأربعة الأكثر تكراراً في هذا التصنيف، مع اللوحة الأبرز لكل منها.
المتاحف الـ 7 التي تضم أكبر عدد من اللوحات الموجودة في هذه الصفحة.
| المتحف | المدينة | أعمال Robert Brough | لوحات من هذه القائمة |
|---|---|---|---|
 كلية إدنبرة للفنون |
إدنبرة | 2 | Female Nude with Brass Urn, Nude Study Female |
 جامعة أبردين |
أمستردام | 1 | John Thomson |
 المعرض الوطني الاسكتلندي |
إدنبرة | 1 | William Dallas Ross (d.1931) |
 West Lothian Council |
Livingston | 1 | John Adrian Louis (1860–1908), 7th Earl of Hopetoun and 1st Marquis of Linlithgow |
 Mintlaw Discovery Centre |
Peterhead | 1 | Reverend Dr James Stewart (1830–1917), Minister of Peterhead (1864–1917) (unfinished) |
 Dundee Art Gallery And Museum |
Dundee | 1 | Mary Dallas Ross |
 The Fleming Collection |
London | 1 | Fieldworkers |
اختر عقداً لعرض أشهر لوحاته.
In this 1889 oil on canvas, we find a young Robert Brough looking back at himself. It is a close-up, bust-length portrait that captures the artist at seventeen, a period of profound transition. The grayscale tones and muted palette lend the work a certain melancholy, as if we are witnessing a private thought caught in mid-air. There is a stillness here, a sense of a soul contemplating its own direction…
In this 1897 portrait, we find ourselves in a quiet, intimate encounter with Monsignor Charles Tochetti. The subject is presented in a close-up, three-quarter view, his presence filling the frame with a sense of settled dignity. There is a profound stillness here, a moment captured where the light catches the deep lines of a life lived with purpose. The background remains dark and indistinct, a deliberate choice that pushes the…
The portrait of Sir James Murray, executed in 1903, presents a formal study of the subject in a monochromatic palette. He is positioned slightly to the left of the center, facing forward with a direct gaze directed toward the viewer. The figure is dressed in a dark suit, which provides a solid, structured silhouette against the background. A doorway is visible behind him on the right, creating a receding plane…
تأتي The Artist at Seventeen Years of Age (1889) في المرتبة الأولى، تليها Monsignor Charles Tochetti (1897) ثم Sir James Murray (1850–1933) (1903).
كان عمر Robert Brough 17 عاماً: يعود تاريخ The Artist at Seventeen Years of Age إلى 1889، وقد وُلد Robert Brough في 1872.
The Artist at Seventeen Years of Age, Monsignor Charles Tochetti, Sir James Murray (1850–1933), Mrs Nicol of Roscobie, John Hay, Untitled, Dolce pomum, Mary Dallas Ross (c.1881–1936), Female Nude with Brass Urn و View of Elgin, Moray. تتوفر سنة الإنتاج والمتحف لكل منها في التصنيف أعلاه.
يوجد في كتالوجنا 44 من أعمال Robert Brough، وتتراوح تواريخها من 1889 إلى 1905.
بشكل أساسي في كلية إدنبرة للفنون (إدنبرة), جامعة أبردين (أمستردام) و المعرض الوطني الاسكتلندي (إدنبرة). راجع جدول المتاحف أعلاه للاطلاع على القائمة الكاملة.
في 1890s: 17 من أصل 33 لوحة مصنفة هنا تعود إلى تلك الفترة، بما في ذلك Monsignor Charles Tochetti.
الأقدم في هذه الصفحة: The Artist at Seventeen Years of Age (1889). الأحدث: Mrs Nicol of Roscobie (1905).
من بين 33 لوحة مصنفة هنا: Man (2) و Portrait (2).
Oil On Canvas، لـ 4 من أصل 33 لوحة مصنفة هنا.
تضم كلية إدنبرة للفنون, إدنبرة عدد 2 من اللوحات المدرجة هنا، بما في ذلك Female Nude with Brass Urn و Nude Study Female.
نعم. يمكن طلب كل لوحة في هذه الصفحة كنسخة زيتية مرسومة يدوياً أو كمطبوعة. افتح اللوحة، اختر المقاس، ثم أتمم طلبك.
In the annals of Scottish art history, few names evoke such a poignant sense of fleeting brilliance as Robert Brough. A painter whose life was tragically brief, spanning only from 1872 to 1905, Brough managed to capture the very essence of Victorian Aberdeen with a sensitivity that transcended the rigid academicism of his era. Born near Invergordon in the rugged beauty of Ross and Cromarty, he carried within him a vision that sought to bridge the gap between the venerable traditions of his homeland and the burgeoning modernism sweeping through Europe. His work remains a testament to a soul caught between the structured dignity of the past and the vibrant, emotive possibilities of the future.
Brough’s artistic journey was deeply rooted in the soil of Scottish tradition, yet it was never confined by it. His formal training at the Glasgow School of Art provided him with a formidable technical foundation, most notably through his studies under the influence of the legendary portraitist Henry Raeburn. From this encounter, Brough inherited a profound respect for the psychological depth of his subjects and a mastery of capturing authentic human emotion. However, where his predecessors might have sought a static perfection, Brough pursued something far more elusive: the atmospheric mood. He looked toward the Parisian avant-garde, absorbing the light-drenched lessons of Impressionism and the dreamlike enigmas of Symbolism, weaving these international influences into the fabric of his Scottish sensibilities.
As Brough established himself within the artistic circles of Aberdeen, his style underwent a remarkable evolution, moving away from mere representation toward a more expressive, visceral language. He became a master of color, utilizing a palette that could shift from somber, muted tones to sudden, breathtaking bursts of luminosity. His canvases were not merely depictions of people or scenes; they were vessels for feeling. In his portraits, one finds an intimate connection with the sitter, achieved through delicate brushstrokes and a sophisticated use of light that seems to pulse with life.
This mastery is perhaps most evident in his celebrated works, where the boundaries between reality and imagination begin to blur:
Though his career was cut short by his untimely death at the age of thirty-two, Robert Brough left behind an oeuvre that continues to resonate with a singular, haunting beauty. He was an artist who refused to be stagnant, constantly experimenting with the interplay of light and shadow to express the inner complexities of his subjects. His ability to blend the formal requirements of portraiture with the emotive freedom of modern movement allowed him to document Victorian society not just as it appeared, but as it felt.
Today, Brough is remembered not merely as a regional painter, but as a visionary Scot who dared to infuse traditional subjects with a modern, luminous spirit. His works, held in prestigious collections such as Tate Britain, serve as vital links to a transformative period in art history. To look upon a Brough painting is to witness the struggle and the triumph of an artist striving to capture the ephemeral—the fleeting light, the passing emotion, and the enduring soul of a changing world.
