Kasım 2026 tarihinde güncellendi · popülerlik puanımıza göre sıralanmıştır (her bir eser için aramalar, ziyaretler ve siparişler) · 1 eser Charles Allingham kataloğumuzda
Hızlı yanıt
Charles Allingham tarafından yapılan en ünlü tablo Portrait of Thomas Dermody (1775-1802), Poet (1802) eseridir; orijinali Dublin, National Gallery of Ireland bünyesinde bulunmaktadır. Katalogumuzdaki Charles Allingham imzalı 1 eser arasından, en ünlü 1 eser; her biri yılı ve müzesiyle birlikte sıralanmış olarak, sipariş vereceğiniz tabloyu seçebilmeniz için aşağıda sunulmuştur.
Bu sayfadaki tabloların büyük bir kısmına ev sahipliği yapan müze.
| Müzeler | Şehir | Charles Allingham Eserleri | Bu listedeki tablolar |
|---|---|---|---|
 National Gallery of Ireland |
Dublin | 1 | Portrait of Thomas Dermody (1775-1802), Poet |
Bu sayfadaki tüm tarihli Charles Allingham tabloları 1802 yılına aittir ve burada sıralamaya göre listelenmiştir.
Tablolarını görmek için bir yıl seçin.
Portrait of Thomas Dermody (1775-1802), Poet (1802) birinci sırada.
Charles Allingham 14 yaşındaydı: Portrait of Thomas Dermody (1775-1802), Poet 1802 tarihli bir eserdir ve Charles Allingham 1788 yılında doğmuştur.
Charles Allingham tarafından yapılmış 1 eser kataloğumuzda yer almaktadır.
Ağırlıklı olarak National Gallery of Ireland (Dublin) bünyesinde bulunmaktadır. Tam liste için yukarıdaki müze tablosuna bakınız.
Evet. Bu sayfadaki tüm tablolar, el yapımı yağlı boya reprodüksiyon veya baskı olarak sipariş edilebilir. Tabloyu açın, boyutu seçin ve siparişinizi verin.
Charles Allingham was a British painter and draughtsman whose career reflects the migratory patterns of skilled artisans during the early nineteenth century. Born in 1788, he established a professional presence that spanned several decades, though his most concentrated period of activity is noted between 1802 and 1812. He was a man of movement, eventually leaving England to settle in Malta, where he became a recognized figure in the local artistic landscape. His presence on the island was well-documented by 1819, marking him as one of the early foreign residents contributing to the Mediterranean's visual record.
His technical output was not limited to a single genre. While his reputation rests heavily on portraiture, his skill as a draughtsman allowed him to engage with various subjects. He moved through different social circles, securing commissions from both military and civilian figures. This versatility suggests a professional pragmatism rather than a narrow focus on a specific school of thought. He lived in Casal Paola and eventually died of cholera in 1850, leaving behind a body of work that captures a specific, transitional moment in British and Maltese art history.
Allingham’s presence in Malta during the first decades of the nineteenth century shifted his focus toward a new social landscape. By 1819, he was established on the island, operating far from his English origins. He settled in Casal Paola, a location that placed him within the local community during a period of significant social transition. His time here was defined by a steady output of portraiture and landscape work that captured the specific character of the Maltese setting.
His work in Malta was not merely a temporary stay but a period of active engagement with the local population and its residents. He moved through various social circles, executing portraits that documented the faces of the era. This period of his career demonstrates a practical, professional approach to his craft, focusing on the immediate needs of his patrons. His death from cholera brought an abrupt end to this chapter of his career.
Allingham’s reputation rests largely on his ability to capture the likeness of his sitters, a skill that secured his place within the social circles of the nineteenth century. While he worked in various genres, including landscape painting, his primary output focused on portraiture. His presence in Malta allowed him to access a specific class of patrons, moving beyond mere sketches to execute formal works that defined the visual record of the era. He was not merely a painter of scenery; he was a painter of people, often navigating the social hierarchies of the British presence on the island.
His professional connections were often tied to the social introductions of the time. In February 1825, he was introduced to Lady Richardson, the wife of Sir John Richardson. This connection placed him in the orbit of influential figures, including Sir John himself, who was noted for his scholarly character. Such associations provided the necessary social capital to sustain a career in a foreign territory. His work during this period was not limited to the elite; he executed a variety of portraits and other genres that reflected the diverse demographic of the Maltese landscape.
Allingham’s output was defined by a steady focus on the individuals who shaped the social and intellectual landscape of his era. His 1805 portrait of Thomas Dermody demonstrates an early command of the genre, capturing the poet with a directness that avoids unnecessary flourish. This period of his career shows a consistent ability to translate the presence of his sitters onto canvas, a skill that would sustain his reputation as a reliable portraitist for decades.
The 1810s saw him engaging with a variety of prominent figures, including Edward Williams D.D. and Samuel Crompton. These works reflect a professional capacity to handle the specific requirements of his clientele, whether they were members of the clergy or private gentlemen. His ability to navigate these different social spheres is evident in the breadth of his subject matter during this decade.
Later in his career, his work continued to document the influential figures of the day. His 1826 portrait of Sir John Richardson, Knt. remains a significant example of his later period. Through these specific commissions, Allingham provided a visual record of the people who defined the British and Maltese social circles of the early nineteenth century. His work is characterized by this commitment to the individual, focusing on the specificities of the sitter rather than the distractions of the background.
