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John Fleming: 1 najbolj znanih slik, dokumentirano
Posodobljeno november 2026 · uvrščeno glede na naš skoraj priljubljenosti (iskanja, obiske in naročila za vsako delo) · 1 del v našem katalogu avtorja John Fleming
Povzetek
Po tej uvrstitvi je View of Banff with the Bridge over the River Deveron (1825) najbolj znana slika umetnika John Fleming; v muzeju Scottish National Gallery v mestu Edinburgh se nahaja. Ta seznam temelji na 1 delih umetnika John Fleming v katalogu in prikazuje 1 najbolj znanih del, za vsako od them pa navaja datum, muzej, ki deli delo, in opis.
1792 – 1845
Največ del: Scottish National Gallery
John Fleming: prvih 10 vnosov na seznamu
John Fleming: v muzejih
1 muzejev, ki vsebujo največ slik na tej strani.
| Muzeji | Mesto | Sloga John Fleming | Slike iz tega seznama |
|---|---|---|---|
 Scottish National Gallery |
Edinburgh | 1 | View of Banff with the Bridge over the River Deveron |
John Fleming po letih: najbolj znana slika
Vsi datiranii dela umetnika John Fleming, zabeležena na tej strani, datirajo iz leta 1825.
Slikoritve po letih
Izberite leto, da prikazate njegova glavna dela.
John Fleming: vprašanja in dokumentirana odgovori
Katero sliko avtorja John Fleming predvaja seznam najbolj znanih del?Prikaži odgovor
View of Banff with the Bridge over the River Deveron (1825)
Koliko je bil John Fleming let, ko je bilo naslikano delo View of Banff with the Bridge over the River Deveron?Prikaži odgovor
33 let: John Fleming se je rodil/a v 1792, View of Banff with the Bridge over the River Deveron pa je datiran/a leta 1825.
Koliko del avtorja John Fleming je zabeleženih?Prikaži odgovor
Katalog vsebuje 1 del umetnika John Fleming.
V katerih zbirkah so shranjena najbolj znana dela umetnika John Fleming?Prikaži odgovor
Predvsem v Scottish National Gallery (Edinburgh). Zgornja tabela muzejev prikazuje celotno razporeditev.
John Fleming: življenje in delo
A Life Painted in Scenery and Service
John Fleming began his path in the world of color not as a scholar, but through the practical labor of a house painter. At fourteen, he entered an apprenticeship that grounded him in the physical reality of pigments and surfaces. This early training likely shaped his eye for the subtle textures found in the Scottish landscape. After spending time in London, where he worked as a housepainter and studied the works held in various galleries, he eventually settled in Greenock. His life was deeply tied to this community, moving between premises on William Street and Hamilton Street.
While his hands were often busy with the practicalities of trade, his mind was focused on the quiet beauty of his homeland. He became a man who recorded the changing face of his surroundings, capturing the development of Greenock through his brush. His work was not merely about grand vistas; it was about the specific, lived reality of the places he knew.
The Art of the View
Fleming found a particular rhythm in creating small-scale paintings of Scottish scenery. He did not seek to overwhelm the viewer with scale, but rather to offer intimate glimpses of the land. Much of his most recognized work came from a close professional bond with the engraver and publisher Joseph Swan. Together, they brought detailed views of the local landscape to a wider audience through several published series:
- Select Views of Glasgow and its environs (1828)
- Select Views on the Clyde (1830)
- Select Views of the Lakes of Scotland (1834)
The publication regarding the lakes of Scotland was especially well-received, appearing in multiple editions throughout the 1830s. These prints allowed his observations of the natural world to reach beyond the borders of Greenock. Alongside these landscapes, he also worked as a portrait painter, often capturing the likenesses of local merchants who lived and traded in the same streets where he worked.
A Presence in the Scottish Arts
Fleming was an active participant in the growing artistic community of his time. He was an original member of the Institution for Promoting and Encouraging the Fine Arts in the West of Scotland, formed in 1821. His dedication to the local arts scene was further evidenced by his membership in the Watt Club and his election to the West of Scotland Academy in 1841. He also shared his work with the Royal Scottish Academy, exhibiting landscapes there in 1828, 1830, and 1837.
His death in February 1845 left a void in the local community, a sentiment reflected in the gravestone erected by friends and admirers. Today, the traces of his life's work remain held in several important collections, including the McLean Museum and Art Gallery in Greenock, the National Galleries of Scotland, and the University of Edinburgh. Through these pieces, the landscapes he once walked continue to be seen.