Juno Receiving the Cestus from Venus (1771) je nejslavnější obrazem autora Guy Head. Echo Flying from Narcissus (1795) a John Flaxman (1792) jsou dalšími dvěma díly, která svět zná nejlépe. Z 7 děl umělce Guy Head v našem katalogu uvádíme 7 těch, na které se kolektéři a návštěvníci muzeí nejčastěji dívají, včetně roku vzniku, názvu muzea a příběhu každého díla.
Seřazeno podle našeho skóre popularity, které kombinuje počet vyhledávání, návštěv a objednávek u každého díla. Aktualizováno listopad 2026. Každé dílo na této stránce lze objednat jako ručně malovanou olejovou reprodukci v muzeální kvalitě nebo jako umělecký tisk v požadovaném rozměru.
4 muzea, v nichž je umístěno nejvíce obrazů z této stránky.
| Muzeum | Město | Díla autora Guy Head | Obrazy z tohoto seznamu |
|---|---|---|---|
 National Portrait Gallery |
Londýn | 3 | John Flaxman, Prince Augustus Frederick, Duke of Sussex, Horatio Nelson |
 Detroit Institute of Arts |
Detroit | 1 | Echo Flying from Narcissus |
 National Maritime Museum |
Londýn | 1 | Rear-Admiral Sir Horatio Nelson, 1758-1805 |
 Scottish National Gallery |
Edinburgh | 1 | Iris |
Juno Receiving the Cestus from Venus (1771). Následují Echo Flying from Narcissus (1795) a John Flaxman (1792).
11 let: dílo Juno Receiving the Cestus from Venus pochází z roku 1771 a Guy Head se narodil/a v roce 1760.
Náš katalog obsahuje 7 děl autora Guy Head z let 1771 až 1800.
Většina z nich se nachází v National Portrait Gallery (Londýn), Detroit Institute of Arts (Detroit) a National Maritime Museum (Londýn). V tabulce výše jsou jednotlivé muzea uvedeny postupně.
V období 1790s: 4 z 7 děl na této stránce pochází z tohoto období, z nich Echo Flying from Narcissus.
Nejstarší dílo na této stránce pochází z Juno Receiving the Cestus from Venus (1771), nejnovější z Rear-Admiral Sir Horatio Nelson, 1758-1805 (1800).
John Flaxman, Prince Augustus Frederick, Duke of Sussex a Horatio Nelson patří mezi 3 děl na této stránce, která má v zastarání National Portrait Gallery, Londýn.
Ano. Každý obraz na této stránce lze objednat jako ručně malovanou olejovou reprodukci v muzeální kvalitě nebo jako umělecký tisk v požadovaném rozměru přímo z jeho vlastní stránky.
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.