Juno Receiving the Cestus from Venus (1771) е най-известната картина на Guy Head. Echo Flying from Narcissus (1795) и John Flaxman (1792) са следните две най-известни творби в света. От 7 произведения на Guy Head в нашия каталог, ето 7-те, които колекционерите и посетителите на музеи разглеждат най-често, с годината, музея и историята на всяко от тях.
Класирани според нашия коефициент за популярност, който съчетава търсенията, посещенията и поръчките за всяко произведение. Обновено Ноември 2026. Всяко шедьовър на тази страница може да бъде поръчано като маслено репродукция на ръка с музейно качество или като художествен принт, в избран от Вас размер.
4 музея, които притежават най-голям брой от картините на тази страница.
| Музеи | Град | Творения на Guy Head | Картини от този списък |
|---|---|---|---|
 Национална портретна галерия |
Лондон | 3 | John Flaxman, Prince Augustus Frederick, Duke of Sussex, Horatio Nelson |
 Детройтският институт за изкуства |
Детройт | 1 | Echo Flying from Narcissus |
 National Maritime Museum |
Лондон | 1 | Rear-Admiral Sir Horatio Nelson, 1758-1805 |
 Национална галерия на Шотландия |
Единбург | 1 | Iris |
Juno Receiving the Cestus from Venus (1771). Следват Echo Flying from Narcissus (1795) и John Flaxman (1792).
11 години: Juno Receiving the Cestus from Venus е от 1771 г., а Guy Head е роден/а в 1760.
В нашия каталог са изброени 7 произведения на Guy Head, датирани от 1771 до 1800.
Повечето от тях се намират в Национална портретна галерия (Лондон), Детройтският институт за изкуства (Детройт) и National Maritime Museum (Лондон). В горната таблица музеите са изброени един по един.
В 1790s: 4 от 7 произведенията на тази страница са от този период, като сред тях са Echo Flying from Narcissus.
Най-старата творба на тази страница е от Juno Receiving the Cestus from Venus (1771), а най-новата е от Rear-Admiral Sir Horatio Nelson, 1758-1805 (1800).
John Flaxman, Prince Augustus Frederick, Duke of Sussex и Horatio Nelson са сред 3-те произведения на тази страница, съхранявани в Национална портретна галерия, Лондон.
Да. Всяка картина на тази страница може да бъде поръчана като ръчно рисувано маслено репродукция музейно качество или като художествен принт в избран от Вас размер, директно от страницата на съответната картина.
The lineage of Guy Head begins in Carlisle, where the son of a house-painter first encounters the tools of the trade. He does not remain a laborer of walls. Under the instruction of Captain John Bernard Gilpin, the boy learns the discipline of drawing. This technical foundation leads him to the Royal Academy, a move that places his developing hand in the orbit of Sir Joshua Reynolds. By 1779, the transition from student to exhibitor is complete as he presents a portrait of a gentleman to the Academy, followed by another the following year.
The scope of his output expands through the 1780s. He moves between the formal halls of the Royal Academy and the exhibitions of the Society of Artists at Spring Gardens. His subjects vary from the specific to the theatrical, including a portrait of Henderson the actor as Richard III and a landscape steeped in the story of Europa. He is a painter of both the individual and the myth.
A friend and the influence of Reynolds facilitate a departure from England. Head travels to Italy, finding a home in Rome for several years. Here, his technical skill finds a new application: the art of the copyist. He does not merely mimic; he recreates the masters. His interpretations of Correggio and Titian earn him significant commendation. In Antwerp, he tackles the massive scale of Rubens, producing large copies that eventually find their place within the Royal Academy.
His Roman period defines his versatility. He balances the precision required for portraiture with the decorative demands of classical subjects. His hands move between the likeness of a contemporary face and the idealized forms of antiquity.
The political tremors of 1798 force a return to England. Head arrives back in his homeland carrying a heavy weight of labor: a large collection of drawings, copies, and various other pieces intended for exhibition. The ambition for a major showing remains unfulfilled. On 16 December 1800, in London, the work stops abruptly. He dies suddenly, leaving his collections to be dispersed by auction in 1805.
His legacy is a fragmented one. While his reputation fades shortly after his death, his imagery persists through the hands of others. In 1814, the works Echo and Iris are engraved by J. Folo, and a horse's head is rendered by C. Turner. He remains a figure of the late eighteenth century, a painter of portraits and classical themes whose life was cut short before his full intentions could be realized.