Uppdaterad november 2026 · rangordnad efter vår popularitetspoäng (sökningar, besök och beställningar för varje verk) · 114 verk av Daniel Macnee i vår katalog
Sammanfattning
Alexander Morrison of Ballinakill (1786–1860), Dean of Faculty (1846–1860) (1859) är registrerat som Daniel Macnees mest kända målning; den finns i Royal Faculty of Procuratorss samling i Glasgow. David Crawford (1790–1861), Deputy Lieutenant of Renfrewshire and Baron Baillie of Greenock (1856) och Archibald McNeill, Principal Clerk of Session (1858–1870) (1860) innehar andra och tredje platsen. Av de 114 verk av Daniel Macnee som finns registrerade i katalogen listas nedan de 100 mest kända, var och en med datum, innehavande museum och en kommentar om 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 fyra motiv som oftast förekommer i dessa verk, var och en med sitt mest kända exempel.
De 8 museer som innehar flest av målningarna på denna sida.
| Museum | Stad | Verk av Daniel Macnee | Målningar från denna lista |
|---|---|---|---|
 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) |
Välj ett decennium för att visa dess främsta målning.
The portrait captures John Wilson, a singer and composer, in a moment of quiet contemplation. He is rendered with a serious expression, his gaze directed away from the viewer toward an unseen distance. A beard and mustache frame a face that suggests a life of creative thought. He wears a formal suit and tie, the attire of a man of his era and professional standing. The composition places him as…
In this 1840 composition, we find ourselves drawn into a quiet, intimate room where the air seems thick with the weight of intellect and conversation. A group of men, dressed in the formal attire of the era, are gathered around a dining table. Some are seated, leaning into the dialogue, while others stand nearby, caught in a moment of pause. The scene is not one of celebration, but of serious…
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 följande verken är David Crawford (1790–1861), Deputy Lieutenant of Renfrewshire and Baron Baillie of Greenock (1856) och Archibald McNeill, Principal Clerk of Session (1858–1870) (1860).
53 år: Daniel Macnee föddes 1806 och Alexander Morrison of Ballinakill (1786–1860), Dean of Faculty (1846–1860) är daterad 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) och Adam Sim of Coulter Mains (1805–1868). Listan ovan visar datum och innehavande museum för varje verk.
Katalogen innehåller 114 verk av Daniel Macnee, daterade mellan 1830 och 1881.
Främst i Scottish National Gallery (Edinburgh), Scottish National Portrait Gallery (Edinburgh) och Royal Scottish Academy of Art - Architecture (Edinburgh). Tabellen ovan visar den fullständiga fördelningen.
Under 1870s: 22 av de 100 verk som listas på denna sida är daterade till den perioden, inklusive Alexander Whitelaw, 1823 - 1879. Industrialist and philanthropist.
Det tidigaste daterade verket som listas här är John Wilson (1800–1849), Singer and Composer of Songs (1830); det senaste är John Boyd Baxter (1796–1882), Procurator Fiscal of Farfarshire (1881).
Man (12), Portrait (9) och Portraiture (7) av de 100 verk som listas på denna sida.
Oil On Canvas, i 16 av de 100 verk som listas på denna sida.
Academic realism, som dokumenteras av verken på denna sida.
Horatio McCulloch (1805–1867), A Lady in Grey (The Artist's Daughter, Later Mrs Wiseman) och A Portrait Study of a Gentleman Standing in an Interior är bland de 12 verk på denna sida i Scottish National Gallery, Edinburghs samling.
Daniel Macnee (1806–1882) står som en central gestalt i den skotska konsthistorien, främst erkänd för sina stämningsfulla skildringar av det skotska höglandet och sitt avgörande bidrag till grundandet av Royal Scottish Academy. Även om hans konstnärliga resa tog sin början i en privilegierad miljö i en framstående Londonfamilj, fann han snabbt sin sanna kallelse i att fånga Skottlands råa skönhet och själfulla natur – en fascination som kom att definiera hela hans livsverk.
Hans tidiga år präglades av en gedigen utbildning vid Eton College och Christ's Hospital, där han slipade sina konstnärliga färdigheter innan han påbörjade en framstående karriär inom flottan. Denna formativa tid i livet gav honom en disciplin och en förmåga till noggrann observation, egenskaper som senare skulle visa sig vara ovärderliga i hans måleri. Macnees konstnärliga sinne formades i djupet av det skotska landskapet, särskilt i Cairngorms nationalpark där han vistades under långa perioder. Genom att noggrant studera topografiska teckningar och skisser strävade han efter att med precision återge de dramatiska vyerna och de subtila tonala variationer som kännetecknar dessa majestätiska bergstrakter.
Hans hängivenhet till konstnärlig excellens kulminerade i valet till Royal Scottish Academy år 1837, ett prestigefyllt erkännande som befäste hans position som en ledande röst inom det skotska konstlivet. Som akademins president från 1869 fram till sin död blev han en förespråkare för innovation och skapade en stöttande miljö för framtida generationer av konstnärer.
Bland hans mest hyllade verk återfinns ”A Lady in Grey” från 1859, ett porträtt av hans dotter, den senare Mrs Wiseman. Verket är utfört med en anmärkningsvärd realism och känslighet, och exemplifierar Macnees mästerliga kontroll över tonala övergångar – en teknik han skickligt använde för att förmedla både stämning och textur. Den dämpade färgpaletten speglar sin tids konstnärliga trender, samtidigt som den fångar motivets stillsamma värdighet.
Utöver porträttkonsten skapade Macnee ett flertal landskap som vittnar om hans skarpa förståelse för ljus och färg. Hans dukar avbildar dramatiska bergskedjor badande i ett gyllene solljus, vilket förmedlar en påtaglig känsla av både storslagenhet och frid. Genom noggrann observation och ett varsamt penseldrag lyckades han uppnå en detaljrikedom som skiljer hans verk från mer generella skildringar av det skotska höglandet.
Hans stil hämtade inspiration från luminismen, en rörelse som betonade atmosfäriska effekter och subtila nyansskillnader, och han lånade skickligt tekniker från pionjärer som George Caleb Bingham och Frederic Church. Hans orubbliga engagemang för att fånga motivens sanna väsen har säkerställt att hans målningar lever kvar som tidlösa uttryck för skotskt landskapsmåleri och porträttkonst.
Daniel Macnees bidrag till den skotska konsten sträcker sig långt bortom hans enskilda mästerverk; han spelade en avgörande roll i etableringen av Royal Scottish Academy, där han främjade det konstnärliga samtalet och höjde kvaliteten inom det skotska visuella kulturarvet. Hans målningar fortsätter att beröra betraktare än idag, som påminnelser om en svunnen era präglad av romantisk idealism och en orubblig vördnad för naturens sublima skönhet. Macnees arv lever vidare, inte bara genom hans egna konstnärliga prestationer, utan också genom det bestående inflytande han utövat på efterföljande generationer av skotska konstnärer.
