约翰·布拉德利全部影视作品
首发于 qinglite.cn，统计截止日：2024-11-29
 薰衣草小女孩 | - |
| 玩玩具马的小男孩 | - |
| 慈善事业（友好的撒玛利亚人） | - |
| 基斯利的风景 | - |
| 船长约翰·科尔的肖像 | - |
| 罗伯特·塞普斯爵士 | - |
| 房间里抱着玩偶的女孩 | - |
| 一头获奖的母牛在田野里的绘画 | - |
| 约翰·托滕的画像 | - |
| 正义（基督和圣殿中的长老们） | - |
| 凯瑟琳·雷切尔(怀南特)·科尔的肖像 | - |
| 大提琴演奏家 | The Cellist is one of Bradley's early works, and like other known early paintings by this artist, this one is small in scale and depicts a full-length figure. Nothing is known about the sitter, but he seems to be a man of means as well as a musician, as suggested by the elegant setting with a stylish pianoforte and cello that are prominent in the composition. The two objects on the Sheraton-style bench--a pink cloth kerchief and a pitch pipe or resin applicator for use on the strings of a bow—also suggest that he is a practicing musician. The sheet music—a hymn published in London about 1820—is legible enough to be identified and played, showing the artist’s careful attention to detail. Bradley rendered the man’s striking features—piercing blue eyes, wavy hair, and lean face—with faithfulness and verve. Painted with crisp lines and carefully noted details, the figure seems alive as he gazes directly at us.The figure's awkward proportions are typical of self taught painters such as we assume Bradley to be. An impossibly long right arm rests on a relatively short leg; the tiny feet, clad in black slippers, seem intended to convey the musician's refinement, as does his slender form. Bradley's unusual technique of highlighting the contours of forms to give them greater volume can be seen in the area of the sitter's right knee and arm. Typical of Bradley's portraits—and of portraiture by self-taught artists—are the limited tones—brown, white, and black—enlivened by such broad accents as the rich red curtain and green-figured carpet. |
| 钢琴前的女人 | - |
| 喂兔子的小男孩 | - |
| 斯托克布里奇的老玉米磨坊 | - |
| 基思利的老玉米磨坊 | - |
| 艾玛·霍曼 | Bradley may have emigrated from Ireland in 1826. By 1836 he had established himself as a portraitist in New York, where he attracted sitters eager for his marked attention to likeness and detail. For this portrait of two-year-old Emma Homan (1842–1908), Bradley posed her standing next to a potted rosebush and playing with her cat, which scales the plant and extends a paw to bat Emma’s finger. |
| 自画像 | - |
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