11월 2026 업데이트 · 인기 점수 기준 순위 (각 작품의 검색, 방문 및 주문 수) · 4점의 Patrick Millard 작품 (당사 카탈로그 기준)
요약
Gulls, Lyme Regis (1950)은(는) Patrick Millard의 가장 유명한 작품으로 기록되어 있으며, London에 위치한 Goldsmiths에서 소장하고 있습니다. View from Trafalgar Studios, Chelsea과 The Red Mill (1940)이(가) 2위와 3위를 차지했습니다. 카탈로그에 기록된 Patrick Millard의 작품 4점 중, 가장 잘 알려진 4점을 아래에 나열하였습니다. 각 항목에는 제작 연도, 소장 미술관 및 작품에 대한 설명이 포함되어 있습니다.
The scene captures a quiet moment on the shoreline of Lyme Regis, where a small boat rests upon the sand. The composition is anchored by this vessel, positioned toward the left, while the background is defined by the silhouette of a distant mountain. Movement enters the frame through a group of thirteen birds, scattered across the sky and near the boat, their varied positions creating a sense of depth and…
이 페이지에 있는 작품을 가장 많이 소장하고 있는 2개의 미술관
| 소장 미술관 | 도시 | Patrick Millard의 작품 | 이 목록의 작품들 |
|---|---|---|---|
 Goldsmiths |
London | 2 | Gulls, Lyme Regis, View from Trafalgar Studios, Chelsea |
 Jerwood Gallery |
Hastings | 1 | John Minton with a Violin |
주요 작품을 확인하려면 연대를 선택하세요.
The scene captures a quiet moment on the shoreline of Lyme Regis, where a small boat rests upon the sand. The composition is anchored by this vessel, positioned toward the left, while the background is defined by the silhouette of a distant mountain. Movement enters the frame through a group of thirteen birds, scattered across the sky and near the boat, their varied positions creating a sense of depth and…
Gulls, Lyme Regis (1950), Goldsmiths, London. 다음 작품은 View from Trafalgar Studios, Chelsea와(과) The Red Mill (1940)입니다.
48세: Patrick Millard은(는) 1902년에 태어났으며, Gulls, Lyme Regis의 제작 연도는 1950년입니다.
Patrick Millard의 작품 4점이 카탈로그에 기록되어 있으며, 제작 시기는 1939에서 1950 사이입니다.
주로 Goldsmiths (London) 및 Jerwood Gallery (Hastings)에 소장되어 있습니다. 위의 박물관 목록에서 전체 분포를 확인하실 수 있습니다.
여기에 나열된 작품 중 가장 오래된 작품은 John Minton with a Violin (1939)이며, 가장 최근 작품은 Gulls, Lyme Regis (1950)입니다.
Gulls, Lyme Regis 및 View from Trafalgar Studios, Chelsea은(는) Goldsmiths, London 컬렉션의 이 페이지에 있는 2점의 작품 중 하나입니다.
In the tapestry of twentieth-century British art, few threads weave together the delicate strands of Romanticism and Modernism as gracefully as Patrick Ferguson Millard. Born in 1902 amidst the rugged beauty of Aspatria, Cumberland, Millard’s very origins were steeped in a profound connection to the English landscape and intellectual heritage. The son of Reverend F.L.H. Millard, his upbringing was shaped by an environment where scholarly curiosity and natural splendor coexisted. This duality—a reverence for the historical weight of the land and an openness to new aesthetic frontiers—would become the cornerstone of his artistic identity. His lineage, connected to the esteemed historian Robert S. Ferguson, anchored him to the traditions of Cumbria, yet his spirit was destined to wander far beyond the borders of his birthplace.
Millard’s formal journey into the heart of the art world began through a series of prestigious institutions, including the Carlisle School of Art and the Liverpool School of Art, eventually leading him to the Royal Academy Schools between 1921 and 1925. It was during this formative period that he encountered the influential mentor Walter Sickert, whose guidance proved transformative. Sickert encouraged Millard to look toward the continent, prompting a journey through Paris, Italy, and Spain. This exposure to the vibrant currents of European art—the dramatic intensity of El Greco and the structural innovations of Cubism and Surrealism—deeply enriched his palette and perspective. While he absorbed these modernistic whispers, Millard remained fundamentally tethered to a more lyrical, emotive approach, seeking to capture the soul of his subjects rather than merely their geometric essence.
The artistry of Millard is characterized by an exquisite sensitivity to atmosphere, often described as a visual interpretation of emotion. He was not merely a painter of scenes, but a translator of moods. His work frequently echoes the pastoral legacy of Samuel Palmer, channeling a sense of quiet contemplation and the idealized beauty of the English countryside. Through delicate linework and subtle washes of watercolor, he breathed life into landscapes that felt both ancient and immediate. His mastery extended beyond the horizon of the landscape to include intimate life studies and animal drawings, where his keen understanding of anatomy and form met a soft, poetic touch.
Beyond his personal practice, Millard’s influence permeated the academic landscape of British art education. As a lecturer and teacher, he held prestigious positions that allowed him to shape the next generation of visionaries, including notable artists such as John Minton and Michael Ayrton. His ability to bridge the gap between the traditional Victorian sensibility and the burgeoning modern era made him a vital figure in art pedagogy. His career was marked by significant accolades, including the Royal Academy Gold Medal and the Traveling Scholarship in 1925, which served as a testament to his rising prominence on the international stage.
To reflect upon the breadth of his contribution, one might consider these defining elements of his career:
Ultimately, Patrick Ferguson Millard remains a pivotal figure whose work serves as a bridge between eras. He captured the fleeting light of the English landscape and the enduring strength of tradition, leaving behind a body of work that continues to invite viewers into a world of quiet, luminous beauty.
