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A River Scene with Thatched Huts by a Bridge over a Weir
Ručně malovaná olejná reprodukce od $181 37 × 27 cm
Velikost jako originál $237 61 × 46 cm Objednat v originální velikosti →
A River Scene with Thatched Huts by a Bridge over a Weir (1767) je nejslavnější obraz autora James Lambert, který se nachází v muzeu Yale Center for British Art ve městě New Haven. Z 2 děl umělce James Lambert v našem katalogu uvádíme 2 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.
Muzeum s největším počtem obrazů na této stránce.
| Muzeum | Město | Díla autora James Lambert | Obrazy z tohoto seznamu |
|---|---|---|---|
 Yale Center for British Art |
New Haven | 2 | A River Scene with Thatched Huts by a Bridge over a Weir, Figures with a Donkey and Dog Crossing a Weir |
1767 je rok vzniku všech díel s datem vzniku od James Lambert na této stránce: zde jsou, seřazena podle slávy.
A River Scene with Thatched Huts by a Bridge over a Weir (1767)
42 let: dílo A River Scene with Thatched Huts by a Bridge over a Weir pochází z roku 1767 a James Lambert se narodil/a v roce 1725.
Náš katalog obsahuje 2 děl autora James Lambert.
Většina z nich se nachází v Yale Center for British Art (New Haven). V tabulce výše jsou jednotlivé muzea uvedeny postupně.
V období 1767: 2 z 2 děl na této stránce pochází z tohoto období, z nich A River Scene with Thatched Huts by a Bridge over a Weir.
A River Scene with Thatched Huts by a Bridge over a Weir a Figures with a Donkey and Dog Crossing a Weir patří mezi 2 děl na této stránce, která má v zastarání Yale Center for British Art, New Haven.
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.
James Lambert was a man of dual disciplines, operating as both a painter of scenery and a musician. Born in Jevington, Sussex, he spent his life anchored to the landscape of the region, specifically around Lewes. His work was not the product of formal academic training but of practical necessity and local demand. He functioned as a herald painter, decorating inn signs, and later transitioned into a more precise recording of the English landscape. His ability to capture the specificities of Sussex architecture and topography makes his body of work a vital visual record of the eighteenth-century English countryside.
His technical development likely began with the influence of George Smith, a distant relative who provided the necessary instruction in landscape painting. This foundation allowed him to move beyond mere signage into the realm of commissioned views. By the 1770s, Lambert was producing watercolours that documented historic buildings, a task that required a keen eye for structural detail and a disciplined hand. He was not merely an observer; he was a documentarian of the antiquities of his home county.
Lambert’s significance lies in his meticulous documentation of a disappearing world. His output was substantial, including several hundred watercolour drawings created for Sir William Burrell. These works focused on the antiquities of Sussex, providing a level of detail that transcends simple landscape art. He was also commissioned by John Elliot to produce views of antiquities, ensuring that the physical history of the region was preserved through his brush. His work appeared in significant historical publications, including the works of Thomas Walker Horsfield and John Watson's History of the Earls of Warren.
His professional reach extended to the formal art institutions of the era. Between 1768 and 1778, he exhibited at the Free Society of Artists and the Royal Academy of Art. This participation in major exhibitions demonstrates that his skill was recognized by the contemporary establishment, even if his roots remained firmly in the local soil of Sussex. He was assisted in his later years by his nephew, James Lambert, who helped manage the heavy workload of his prolific output.
To understand Lambert, one must acknowledge his life as a musician alongside his life as a painter. He served as the organist for the church of St Thomas-at-Cliffe from 1745 until his death. His musical contributions were not incidental; he published volumes of psalms and hymns, showing a command of composition that matched his visual precision. While some contemporary accounts suggested he was a better painter than a musician, the reality is that he was competent in both, maintaining a professional presence in the cultural life of Lewes through two distinct mediums.
His death in Lewes marked the end of a career defined by local utility and historical preservation. He left behind a legacy of specific, localized imagery that remains essential for anyone studying the topography and architecture of eighteenth-century Sussex. His paintings are not mere decorations; they are evidence.