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Hunan-bortread

BARKER of Bath, Thomas

Mor gynnar â 1789 roedd Barker wedi peintio portread dwbl ohono'i hun yn gweithio ar dirlun, a'i noddwr Charles Spackman yn edrych dros ei ysgwydd. Mae'r portread yn dyddio o tua 1800. Mae hen gopi ohono'n awgrymu bod y gwreiddiol yn ymestyn i'r dde ac yn cynnwys portread proffil o Mr Thomas Shew yn edrych ar y darlun ar îsl Barker. Mae hwn wedi ei dorri ymaith a'r olion olaf wedi eu gorchuddio â paent, ond mae llygaid y peintiwr yn dal i edrych i'w gyfeiriad ef. Roedd Thomas Shew yn byw yn Weston-super-Mare ac mae'n debyg mai ef oedd perchennog gwreiddiol y darlun hwn.

Mae'r wefan hon yn tynnu ar ddata casgliadau hŷn. Rydyn ni'n cydnabod y gall peth o'r wybodaeth fod wedi dyddio neu'n gwahaniaethu, ac yn gweithio i ddiweddaru ein cofnodion. Os oes gennych gwestiwn neu sylw ar ddarn o gelf, cysylltwch â ni.

Datganiad hawlfraint wedi'i ddarparu gan Amgueddfa Cymru

Manylion

Collection

Amgueddfa Cymru

Rhif yr Eitem

NMW A 459

Creu/Cynhyrchu

BARKER of Bath, Thomas

1769-1847

Rôl: Artist

Cyfnod: 1800-1805

Derbyniad

Bequest, 10/4/1952

Mesuriadau

Uchder (cm): 76.5

Lled (cm): 63.5

Uchder (in): 30

Lled (in): 25

Techneg

Oil on canvas

Techniques (fine art)

Art dept - fine

Fine Art - painting

Deunydd

Oil

Canvas

Lleoliad

In store

Mwy

Tags

Rhannu

Mwy fel hyn

Amgueddfa Cymru

RATHMELL, Thomas

© Thomas Rathmell/Amgueddfa Cymru

Amgueddfa Cymru

Rydyn ni’n gweithio ar ryddhau’r ddelwedd hon.

EVANS, David

Amgueddfa Cymru

RICHARDS, Ceri

(1969)

© Ystâd Ceri Richards. Cedwir Pob Hawl. DACS 2025/Amgueddfa Cymru

Amgueddfa Cymru

Rydyn ni’n gweithio ar ryddhau’r ddelwedd hon.

TARR, James C.

(1930 ca)

Amgueddfa Cymru

Rydyn ni’n gweithio ar ryddhau’r ddelwedd hon.

TARR, James C.

(1930 ca)

Amgueddfa Cymru

BLAKER, Hugh

Trwy ganiatâd Amgueddfa Cymru

Amgueddfa Cymru

LEACH, Bernard

© The Bernard Leach Family. Cedwir Pob Hawl. DACS 2025/Amgueddfa Cymru

Amgueddfa Cymru

Hunan-bortread ar Garnedd Ddafydd

CHAMBERLAIN, Brenda

(1938)

© Brenda Chamberlain/Amgueddfa Cymru/Reuven Jasser

Amgueddfa Cymru

Astudiaeth ar gyfer Hunan-bortread

BACON, Francis

(1963)

© Ystâd Francis Bacon. Cedwir Pob Hawl. DACS 2025/Amgueddfa Cymru

Amgueddfa Cymru

JOHN, Augustus

(1919-1920)

© Ystâd Augustus John. Cedwir Pob Hawl 2025/Bridgeman Images/Amgueddfa Cymru

Amgueddfa Cymru

Rydyn ni’n gweithio ar ryddhau’r ddelwedd hon.

TARR, James C.

(1930 ca)

Amgueddfa Cymru

Rydyn ni’n gweithio ar ryddhau’r ddelwedd hon.

TARR, James C.

(1930 ca)

Amgueddfa Cymru

<p>Information provided by the estate of Ronald Moody:</p> <p>'By the time he finished Self-Portrait 2 in June 1937, the artist was utterly dedicated to wood and had virtually abandoned bronze. He therefore decided to try another version and, within a month, produced this mask in elm. The difference between the two versions is remarkable, even though they are almost identical in concept. The earlier, though life-size, gives the impression of being much smaller, and the smooth stylisation of the material seems to add impassivity and sombreness to the whole. The second is more expansive, both in size and feeling, and the grain of the wood subtly underlines the contour of the face, giving it animation and character. Greatly encouraged by this, Moody eagerly turned to wood for future portraits and for the next nine years used nothing else. </p> <p>On 4.1.39, it was shipped from Paris to the Harmon Foundation in New York, for inclusion in exhibitions in America, where it was shownas A Mask. It remained in the Foundation's custody throughout the war and for some time afterwards.</p> <p>On 2.3.49, the artist wrote to Marie Seton listing the works he wished her to bring back to England. Amongst these was: "Another mask, wood, based on my head (about life size)".'</p>

MOODY, Ronald Clive

(1937)

© The Ronald Moody Trust/Amgueddfa Cymru

Amgueddfa Cymru

<p>Information provided by the estate of Moody: 'The artist's first self-portrait in bronze so displeased him, that he destroyed it. This second version pleased him no better. By the time he finished it in June 1937, he was utterly dedicated to wood and had virtually abandoned bronze. He therefore decided to try another version in elm and, within a month, produced Self-Portrait 3. For the next nine years, all his portraits were in wood.</p> <p>When Marie Seton went to live in America, she put this mask into storage, together with several other works the artist had left in her care. Although it is mentioned in her letter of 27.10.42 to Cox & King's, authorising Helene Moody to collect them, it remained with Marie Seton until her death in 1985 and was restored to the artist's collection by her executor Pamela Cullen in 1989.'</p>

MOODY, Ronald Clive

(1937)

© The Ronald Moody Trust/Amgueddfa Cymru

Amgueddfa Cymru

LIVENS, Horace Mann

Trwy ganiatâd Amgueddfa Cymru

Amgueddfa Cymru

HALL, Edna Clarke

© Edna Clarke Hall//Gail Clarke HallAmgueddfa Cymru - Museum Wales

Amgueddfa Cymru

MORRIS, Cedric

(1919)

© Ystâd Cedric Morris. Cedwir Pob Hawl 2025/Bridgeman Images/Amgueddfa Cymru

Amgueddfa Cymru

EVANS, Merlyn

(1939)

© Merlyn Oliver Evans/Amgueddfa Cymru

Amgueddfa Cymru

JOHN, Augustus

(1919)

© Ystâd Augustus John. Cedwir Pob Hawl 2025/Bridgeman Images/Amgueddfa Cymru

Amgueddfa Cymru

HOLLOWAY, Edgar

(1932)

© Edgar Holloway/Amgueddfa Cymru