Updated November 2026 · ranked by our popularity score (searches, visits and orders for each work) · 44 works by Robert Brough in our catalogue
Summary
According to this ranking, The Artist at Seventeen Years of Age (1889) is the most famous painting by Robert Brough. It is followed by Monsignor Charles Tochetti (1897) and Sir James Murray (1850–1933) (1903). This list draws on the 44 works by Robert Brough in the catalogue and records the 33 most famous, with date, holding museum and description for each entry.
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:
In this intimate portrait titled John Hay, the artist Robert Brough turns his attention to the quiet dignity of an older man. The subject is presented with a heavy, prominent beard and mustache that frame a face marked by experience. It is a study of character, captured around about 1871. The sitter's presence is immediate, commanding the space with a sense of introspection and a certain weight of years.
Painted in 1892, this work reflects the shifting artistic sensibilities of the late Victorian period. It moves away from the strict, formal portraiture of the past toward a more emotive and atmospheric approach. There is a subtle tension here between the structured dignity of traditional portraiture and the looser, more spontaneous brushwork influenced by contemporary movements. The painting does not merely document a likeness; it seeks to capture a mood,…
The portrait of Mary Dallas Ross (c.1881–1936) emerges from the canvas as a quiet encounter with a life caught in a moment of stillness. Painted by Robert Brough in 1892, this work captures the subject with a sense of poise that feels immediate, as if the viewer has just stepped into the room. The oil on canvas presents a study of character, where the artist's hand translates the presence of…
The gaze meets Female Nude with Brass Urn, a work that captures a singular, quiet moment in time. Painted by Robert Brough, this piece emerges from the canvas as an intimate study of form and light. The artist, Robert Brough, brings a sense of presence to the subject, freezing a fleeting instant of poise and determination within the frame. It is an oil on canvas that holds the viewer in…
Kathleen1898
12
John Thomson1896 · University of Aberdeen
13
Sir John Fleming (d.1925)1897
14
Sir John Duthie, KBE, of Cairnbulg1897
15
Girl in Red1898
16
Miss Maud Lawrence1898
17
William Dallas Ross (d.1931)1893 · Scottish National Gallery
18
Mrs William Pyper1900
19
Mrs William Pyper1900
20
John Donald1903
21
The Blind Girl1901
22
Peter Esslemont, Lord Provost of Aberdeen (1880–1882) (copy after George Reid)1900
23
Captain Sir Harry Brooke of Fairley (1846–1921), KBE1903
24
John Adrian Louis (1860–1908), 7th Earl of Hopetoun and 1st Marquis of Linlithgow1904 · West Lothian Council
25
Reverend Dr James Stewart (1830–1917), Minister of Peterhead (1864–1917) (unfinished)1905 · Mintlaw Discovery Centre
26
William Pyper
27
Man Ploughing
28
Mary Dallas Ross1892 · Dundee Art Gallery And Museum
29
Fantaisie en Folie1897
30
Mrs Nicol of Roscobie1897
31
Dolly Crombie1896
32
Nude Study FemaleEdinburgh College of Art
33
FieldworkersThe Fleming Collection
The four subjects most frequently represented among these works, each with its best-known example.
The 7 museums that hold the most of the paintings on this page.
| Museum | City | Works by Robert Brough | Paintings from this list |
|---|---|---|---|
 Edinburgh College of Art |
Edinburgh | 2 | Female Nude with Brass Urn, Nude Study Female |
 University of Aberdeen |
Амстердам | 1 | John Thomson |
 Scottish National Gallery |
Edinburgh | 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 |
Select a decade to display its principal painting.
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…
The Artist at Seventeen Years of Age (1889). The following entries are Monsignor Charles Tochetti (1897) and Sir James Murray (1850–1933) (1903).
17 years: Robert Brough was born in 1872 and The Artist at Seventeen Years of Age is dated 1889.
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 and View of Elgin, Moray. The list above records the date and holding museum of each.
The catalogue records 44 works by Robert Brough, dated between 1889 and 1905.
Principally in Edinburgh College of Art (Edinburgh), University of Aberdeen (Амстердам) and Scottish National Gallery (Edinburgh). The museum table above gives the full distribution.
In 1890s: 17 of the 33 works listed on this page are dated to that period, including Monsignor Charles Tochetti.
The earliest dated work listed here is The Artist at Seventeen Years of Age (1889); the latest is Mrs Nicol of Roscobie (1905).
Woman (4), Man (2) and Portrait (2), out of the 33 works listed on this page.
Oil On Canvas, in 7 of the 33 works listed on this page.
Female Nude with Brass Urn and Nude Study Female are among the 2 works on this page in the collection of the Edinburgh College of Art, Edinburgh.
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.
