Oppdatert November 2026 · rangert etter vår popularitetsscore (søk, besøk og bestillinger for hvert verk) · 114 verk av Daniel Macnee i vår katalog
Sammendrag
Alexander Morrison of Ballinakill (1786–1860), Dean of Faculty (1846–1860) (1859) er registrert som det mest kjente maleriet til Daniel Macnee; det er i Royal Faculty of Procurators sin samling i Glasgow. David Crawford (1790–1861), Deputy Lieutenant of Renfrewshire and Baron Baillie of Greenock (1856) og Archibald McNeill, Principal Clerk of Session (1858–1870) (1860) innehar andre- og tredjeplassen. Av de 114 verkene til Daniel Macnee som er registrert i katalogen, er de 100 mest kjente oppført nedenfor, hver med dato, museum og en beskrivelse av verket.
Alexander Morrison sits in a stillness that suggests the heavy silence of a courtroom. He is a man defined by the gravity of his position, the Dean of Faculty, captured in a moment of repose that feels more like a pause in thought than a moment of rest. His legs are crossed, a posture of quiet authority, while his suit and tie anchor him to the formal expectations of his…
An elderly gentleman sits anchored in a heavy, upholstered armchair. The light falls upon his face with a quiet, dramatic weight, carving out the lines of a life lived in authority. He is David Crawford, a man whose presence is defined by the stillness of his pose and the dark, indistinct space that surrounds him. The shadows cling to the folds of his clothing and the deep recesses of the…
In this 1860 portrait, we find ourselves in the quiet, shadowed presence of Archibald McNeill. Seated in a formal armchair, the subject is presented with a gravity that reflects his significant position as Principal Clerk of Session. The composition is centered and deliberate, drawing the eye immediately to the man’s face and the steady gaze he holds. There is a certain stillness here, a sense of a life defined by…
In this 1858 portrait, we find ourselves in the presence of Horatio McCulloch, captured during a period of significant professional development. The subject is presented in a bust-length composition, his gaze directed slightly away from the viewer, suggesting a moment of quiet contemplation. There is a certain gravity in his expression, a seriousness that speaks to the dignity of a man deeply immersed in his own thoughts. The lighting is…
A Lady in Grey (The Artist's Daughter, Later Mrs Wiseman) is a portrait painted by Daniel Macnee in 1859. The subject of this work is the artist's daughter, Isabella Wiseman, who is identified in the title as the woman who later became Mrs Wiseman. The oil painting is currently held in the National Gallery of Scotland.
The gaze of Alexander Whitelaw, 1823 - 1879. Industrialist and philanthropist, meets the viewer through this formal oil portrait. He sits with a composed expression that speaks to his status and the weight of his contributions to industry and charity. Every line of his face and the set of his shoulders suggest a man of stability and purpose. The portrait captures him in a moment of quiet dignity, frozen against…
The portrait depicts an elderly man positioned slightly off-center to the right of the frame. He is shown from the chest up, facing forward with a direct gaze. He wears a dark, formal suit jacket over a waistcoat, both rendered with sharp lines that define the structure of the fabric. The lighting originates from the upper left, casting deep shadows across the right side of his face and the folds…
Rev. James Taylor, 1813 - 1892. Minister and author is an oil portrait by the Scottish painter Daniel Macnee. Executed in 1873, the work presents the subject in a scholarly or clerical setting. The sitter is positioned within an environment suggested by the presence of blurred bookshelves in the background.
The portrait depicts an elderly man seated at a desk, positioned centrally within the composition. He is shown in a formal pose, looking toward the viewer with a steady gaze. His face is marked by the textures of age, with fine lines around the eyes and skin that suggests a life of intellectual labor. He wears dark, heavy clothing that falls in deep, structured folds, catching the light to reveal…
In this portrait, we find ourselves in the presence of Adam Sim, a man whose life was deeply intertwined with the history of Coulter Mains. He sits with a composed, thoughtful air, his hands resting upon a book that suggests a life of intellect and quiet study. The composition is anchored by the weight of his presence, seated within a red velvet chair that bears the fine, intricate carvings of…
James Richardson of Ralston, Paisley
12
A Portrait Study of a Gentleman Standing in an InteriorScottish National Gallery
13
Lady Macnee and Her Daughter (Portrait of the Artist's Daughter and Granddaughter)1863 · Royal Scottish Academy of Art - Architecture
14
John Wilson (1800–1849), Singer and Composer of Songs1830 · Scottish National Portrait Gallery
15
The Hot Blast1840
16
Queen Victoria (1819–1901)1845
17
Mrs Agnes W. Whyte of Newbury1840
18
Agnes Smith Greig1840 · The Stirling Smith Art Gallery - Museum
19
Horatio McCulloch (1805–1867), RSA1842
20
John Ramsay McCulloch1840
21
Reverend Thomas Chalmers (1780–1847), Preacher and Social Reformer1843 · Scottish National Portrait Gallery
22
The Bracelet1851 · Royal Scottish Academy of Art - Architecture
23
Reverend Dr Ralph Wardlaw (1779–1853)1851
24
Douglas William Jerrold1853 · National Portrait Gallery
25
Mrs Thomas McGuffie (1842–1908)1850
26
Louisa Balfour, Mrs James Mackenzie of Craigpark1850 · Scottish National Gallery
27
Henry Marshall (1775–1851), Physician and Military Hygienist1850 · Scottish National Portrait Gallery
28
Andrew Ure (1778–1857), MD, FRS1849
29
James Watson (1787–1871), MD, President of the Faculty of Physicians and Surgeons of Glasgow (1838–1841, 1849–1852 1857–1860)1851
30
Charles Mackay (1787–1857), Actor1854 · Scottish National Portrait Gallery
31
Reverend Henry Cooke (1788–1868), DD1856
32
The Children of William Neish1862
33
Study for 'A Lady in Grey'1859 · Scottish National Gallery
34
John Erskine, Manager of William Dunn's Machine Works, John Street, Glasgow1859
35
Horatio McCulloch (1805–1867), Landscape Painter1859 · Scottish National Portrait Gallery
36
Mrs Catherine Glen Stronach of Lindsaylands1867
37
Alexander Stronach of Lindsaylands1867
38
Portrait of a Bearded Gentleman1865
39
Professor Robert Buchanan (1785–1873)1866
40
Reverend Thomas Barclay (1792–1873)1870
41
William Gibb, JP1871
42
Hugh Cowan1870 · Ayr Town Hall
43
Lady Macnee1870
44
Portrait of an Old Lady1864
45
Peter Denny (1821–1895)1868 · National Maritime Museum
46
Reverend James Begg (1808–1883), Free Church Minister1869 · Scottish National Portrait Gallery
47
Charles Mackay, LLD, FSA (unfinished)1870
48
Robert Home (c.1794–1867), Town Clerk1865 · Berwick-upon-tweed Town Hall
49
Alexander Dunlop Anderson, MD, President of the Faculty of Physicians and Surgeons of Glasgow (1852–1855)1870
50
Mrs Peter Simpson1870 · County Buildings
51
Sir James Bain (1817–1898)1870 · Scottish National Gallery
52
Robert Carruthers (1799–1878)1871
53
My Little Dolly1866 · The Stirling Smith Art Gallery - Museum
54
John Hutton Balfour (1808–1884)1878
55
Professor Andrew Buchanan (1839–1876), Regius Professor of the Theory of Physics1872 · The Hunterian Museum and Art Gallery
56
Professor Allen Thomson (1809–1884), Professor of Anatomy at the University of Glasgow1878
57
Bailie James Moir (1806–1880)1877
58
Robert Dalglish (1808–1880), MP1874
59
Sir James Bain (1818–1898), Lord Provost of Glasgow (1874–1877)1878
60
Sam Bough (1822–1878)1878
61
John Carrick (1819–1890), Glasgow City Architect1877
62
John Ramsay McCullochNational Portrait Gallery
63
Charles Randolph (1809–1878), Engineer, Shipbuilder1879
64
John Boyd Baxter (1796–1882), Procurator Fiscal of Farfarshire1881
65
Arthur Perigal (1816–1884), Landscape Painter1881 · Scottish National Portrait Gallery
66
John Gibson Fleming (1809–1879), President of the Faculty of Physicians and Surgeons of Glasgow (1865–1868, 1870–1872)1880
67
Burns and his Highland MaryScottish National Gallery
68
A Portrait Study of a Gentleman Seated in an InteriorScottish National Gallery
69
Professor W. Mackenzie
70
Samuel Hunter (1769–1839), Editor of the 'Glasgow Herald'
71
The Sisters1868
72
Portrait of a Girl
73
Sir William Jackson (1805–1876), Bt, Member of Parliament for North Derbyshire
74
James White, Esq., of Overtoun
75
Burns and 'Highland Mary'
76
Reverend Dr William Anderson (1799–1873)
77
William Murray of Monkland, FRSE
78
William Mathieson
79
John Aitchison (1769–1859)
80
Clarkson Stanfield (1793–1867), HRSA, RARoyal Scottish Academy of Art - Architecture
81
Thomas Coats (1809–1883)
82
James Donaldson, Builder
83
John Elder (1824–1869)
84
Portrait Study of a Gentleman Standing in an InteriorScottish National Gallery
85
George BailleRoyal Faculty of Procurators
86
The Letter
87
David Roberts (1796–1864), HRSA, RARoyal Scottish Academy of Art - Architecture
88
Portrait Study of a Gentleman Seated in an InteriorScottish National Gallery
89
Dugald Moore
90
Mrs George Kerr
91
Anderson Kirkwood, LLDRoyal Faculty of Procurators
92
John Dykes, Provost (1860–1869)
93
Portrait Study of a Gentleman Standing in an InteriorScottish National Gallery
94
William Johnstone of Glenorchard (1806–1864)
95
Colonel John Ferrier Hamilton of Cairnhill (1786–1871)County Buildings
96
Sir John WhiteheadNew York Historical Society
97
Robert Perry (1783–1848), President of the Faculty of Physicians and Surgeons of Glasgow (1843–1845)
98
Peter Coats (1808–1890)
99
Portrait Study of Three Ladies and a Boy in Highland Dress in an InteriorScottish National Gallery
100
J. Francis Williams (1785–1846), RSARoyal Scottish Academy of Art - Architecture
#1 Alexander Morrison of Ballinakill (1786–1860), Dean of Faculty (1846–1860)
#2 David Crawford (1790–1861), Deputy Lieutenant of Renfrewshire and Baron Baillie of Greenock
#3 Archibald McNeill, Principal Clerk of Session (1858–1870)
#4 Horatio McCulloch (1805–1867)
#5 A Lady in Grey (The Artist's Daughter, Later Mrs Wiseman)
De fire motivene som er hyppigst representert blant disse verkene, hver med sitt mest kjente eksempel.
De 8 museene som innehar flest av maleriene på denne siden.
| Museum | By | Verker av Daniel Macnee | Malerier fra denne listen |
|---|---|---|---|
 Scottish National Gallery |
Edinburgh | 17 | Horatio McCulloch (1805–1867), A Lady in Grey (The Artist's Daughter, Later Mrs Wiseman), A Portrait Study of a Gentleman Standing in an Interior |
 Scottish National Portrait Gallery |
Edinburgh | 11 | Alexander Whitelaw, 1823 - 1879. Industrialist and philanthropist, Rev. James Taylor, 1813 - 1892. Minister and author, John Wilson (1800–1849), Singer and Composer of Songs |
 Royal Scottish Academy of Art - Architecture |
Edinburgh | 6 | Lady Macnee and Her Daughter (Portrait of the Artist's Daughter and Granddaughter), The Bracelet, Clarkson Stanfield (1793–1867), HRSA, RA |
 Royal Faculty of Procurators |
Glasgow | 3 | Alexander Morrison of Ballinakill (1786–1860), Dean of Faculty (1846–1860), George Baille, Anderson Kirkwood, LLD |
 The Stirling Smith Art Gallery - Museum |
Stirling | 3 | Agnes Smith Greig, My Little Dolly |
 National Portrait Gallery |
London | 2 | Douglas William Jerrold, John Ramsay McCulloch |
 County Buildings |
Ayr | 2 | Mrs Peter Simpson, Colonel John Ferrier Hamilton of Cairnhill (1786–1871) |
 Scottish Courts And Tribunals Service |
Edinburgh | 1 | Archibald McNeill, Principal Clerk of Session (1858–1870) |
Velg et tiår for å vise dets viktigste maleri.
Alexander Morrison sits in a stillness that suggests the heavy silence of a courtroom. He is a man defined by the gravity of his position, the Dean of Faculty, captured in a moment of repose that feels more like a pause in thought than a moment of rest. His legs are crossed, a posture of quiet authority, while his suit and tie anchor him to the formal expectations of his…
In this 1860 portrait, we find ourselves in the quiet, shadowed presence of Archibald McNeill. Seated in a formal armchair, the subject is presented with a gravity that reflects his significant position as Principal Clerk of Session. The composition is centered and deliberate, drawing the eye immediately to the man’s face and the steady gaze he holds. There is a certain stillness here, a sense of a life defined by…
The gaze of Alexander Whitelaw, 1823 - 1879. Industrialist and philanthropist, meets the viewer through this formal oil portrait. He sits with a composed expression that speaks to his status and the weight of his contributions to industry and charity. Every line of his face and the set of his shoulders suggest a man of stability and purpose. The portrait captures him in a moment of quiet dignity, frozen against…
Alexander Morrison of Ballinakill (1786–1860), Dean of Faculty (1846–1860) (1859), Royal Faculty of Procurators, Glasgow. De følgende oppføringene er David Crawford (1790–1861), Deputy Lieutenant of Renfrewshire and Baron Baillie of Greenock (1856) og Archibald McNeill, Principal Clerk of Session (1858–1870) (1860).
53 år: Daniel Macnee ble født i 1806, og Alexander Morrison of Ballinakill (1786–1860), Dean of Faculty (1846–1860) er datert 1859.
Alexander Morrison of Ballinakill (1786–1860), Dean of Faculty (1846–1860), David Crawford (1790–1861), Deputy Lieutenant of Renfrewshire and Baron Baillie of Greenock, Archibald McNeill, Principal Clerk of Session (1858–1870), Horatio McCulloch (1805–1867), A Lady in Grey (The Artist's Daughter, Later Mrs Wiseman), Alexander Whitelaw, 1823 - 1879. Industrialist and philanthropist, Sir James Matheson (1796–1878), Rev. James Taylor, 1813 - 1892. Minister and author, Professor Allen Thomson (1809–1884), FRCSEd (1832) og Adam Sim of Coulter Mains (1805–1868). Listen ovenfor viser dato og museum for hvert av dem.
Katalogen inneholder 114 verk av Daniel Macnee, datert mellom 1830 og 1881.
Hovedsakelig i Scottish National Gallery (Edinburgh), Scottish National Portrait Gallery (Edinburgh) og Royal Scottish Academy of Art - Architecture (Edinburgh). Tabellen over viser den fullstendige fordelingen.
I 1870s: 22 av de 100 verkene som er oppført på denne siden er datert til denne perioden, inkludert Alexander Whitelaw, 1823 - 1879. Industrialist and philanthropist.
Det eldste verket som er oppført her er fra John Wilson (1800–1849), Singer and Composer of Songs (1830); det nyeste er fra John Boyd Baxter (1796–1882), Procurator Fiscal of Farfarshire (1881).
Man (8), Portraiture (7) og 19th century (7) av totalt 100 verk oppført på denne siden.
Oil On Canvas, i 10 av de 100 verkene som er oppført på denne siden.
Academic realism, som dokumentert av verkene på denne siden.
Horatio McCulloch (1805–1867), A Lady in Grey (The Artist's Daughter, Later Mrs Wiseman) og A Portrait Study of a Gentleman Standing in an Interior er blant de 12 verkene på denne siden i samlingen til Scottish National Gallery, Edinburgh.
Daniel Macnee (1806–1882) står som en sentral skikkelse i skotsk kunsthistorie, først og fremst anerkjent for sine stemningsfulle skildringer av det skotske høylandet og sitt bidrag til etableringen av Royal Scottish Academy. Selv om Macnees kunstneriske reise tok sin begynnelse i en fremstående familie i London, preget privilegier hans tidlige år før hans fokus raskt ble rettet mot å fange den rå skjønnheten og sjelen i Skottland – en fascinasjon som skulle komme til å definere hele hans livsverk.
Hans formative år var preget av en solid utdannelse ved Eton College og Christ's Hospital, og før han la ut på en distinkt maritim karriere, begynte han å slipe sine kunstneriske ferdigheter. Denne bakgrunnen innprentet ham en disiplin og en evne til observasjon som viste seg å være uvurderlig i hans senere malerpraksis. Hans kunstneriske sans ble i dypet formet av det skotske landskapet, og spesielt av de majestetiske omgivelsene i Cairngorms nasjonalpark, hvor han tilbrakte lange perioder. Gjennom nitidige studier av topografiske tegninger og skisser, etterstrebte han å representere de dramatiske utsiktene og de subtile tonale variasjonene som kjennetegner disse fjellregionene.
Denne dedikasjonen til kunstnerisk perfeksjon kulminerte i hans valg inn i Royal Scottish Academy i 1837, en prestisjefylt ære som sementerte hans posisjon som en ledende stemme i det skotske kunstmiljøet. Som president fra 1869 og frem til sin død, var han en forkjemper for innovasjon og bidro til å skape et støttende miljø for fremtidige generasjoner av kunstnere.
Blant Macnees mest feirede verk finner vi «A Lady in Grey» fra 1859, et portrett av hans datter, senere fru Wiseman. Verket er utført med en bemerkelsesverdig realisme og sensitivitet, og eksemplifiserer Macnees mesterskap innen tonal gradering – en teknikk han på mesterlig vis benyttet for å formidle både stemning og tekstur. Den dempede paletten reflekterer datidens kunstneriske trender, samtidig som den fanger motivets stille verdighet.
Utover portrettkunsten produserte Macnee en rekke landskap som vitner om hans skarpe forståelse for lys og farge. Hans lerreter fremstiller dramatiske fjellkjeder badet i gyllent sollys, noe som formidler en følbar følelse av både storslåtthet og ro. Denne effekten oppnådde han gjennom møysommelige observasjoner og et nøyaktig penselarbeid, egenskaper som skiller hans verk fra mer generaliserte fremstillinger av det skotske høylandet.
Hans stil hentet inspirasjon fra luminismen, en retning som vektlegger atmosfæriske effekter og subtile fargenyanser, og han adopterte dyktig teknikker pionert av kunstnere som George Caleb Bingham og Frederic Church. Hans urokkelige engasjement for å fange essensen i sine motiver, kombinert med en ekstrem detaljrikdom, har sørget for at hans malerier står igjen som tidløse uttrykk for skotsk landskaps- og portrettkunst.
Daniel Macnees bidrag til skotsk kunst strekker seg langt utover hans individuelle mesterverk; han spilte en avgjørende rolle i oppbyggingen av Royal Scottish Academy, hvor han fremmet kunstnerisk dialog og fremmet kvalitet i det skotske visuelle kunstlandskapet. Hans malerier fortsetter å resonnere hos betraktere i dag, som påminnelser om en svunnen tid preget av romantisk idealisme og en urokkelig beundring for naturens sublime skjønnhet. Macnees ettermæle hviler ikke bare i hans egne kunstneriske bragder, men også i hans varige innflytelse på påfølgende generasjoner av skotske kunstnere.
