Juno Receiving the Cestus from Venus (1771) er det mest berømte maleri af Guy Head. Echo Flying from Narcissus (1795) og John Flaxman (1792) er de næste to værker, som verden kender bedst. Udvalgt fra de 7 værker af Guy Head i vores katalog er her de 7, som samlere og museumsgæster oftest opsøger, inklusiv årstal, museum og historien bag hvert værk.
Rangordnet efter vores popularitetsscore, som kombinerer søgninger, besøg og ordrer for hvert værk. Opdateret november 2026. Hvert mesterværk på denne side kan bestilles som en håndmalet oliereproduktion i museumskvalitet eller som et kunsttryk i den størrelse, du vælger.
De 4 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Guy Head | Malerier fra denne liste |
|---|---|---|---|
 National Portrait Gallery |
London | 3 | John Flaxman, Prince Augustus Frederick, Duke of Sussex, Horatio Nelson |
 Detroit Institute of Arts |
Detroit | 1 | Echo Flying from Narcissus |
 National Maritime Museum |
London | 1 | Rear-Admiral Sir Horatio Nelson, 1758-1805 |
 Scottish National Gallery |
Edinburgh | 1 | Iris |
Juno Receiving the Cestus from Venus (1771). Derefter følger Echo Flying from Narcissus (1795) og John Flaxman (1792).
11 år gammel: Juno Receiving the Cestus from Venus er fra 1771, og Guy Head blev født i 1760.
Vores katalog indeholder 7 værker af Guy Head, dateret fra 1771 til 1800.
De fleste af dem findes i National Portrait Gallery (London), Detroit Institute of Arts (Detroit) og National Maritime Museum (London). Tabellen ovenfor lister museerne enkeltvis.
I 1790s: 4 af de 7 værker på denne side stammer fra denne periode, herunder Echo Flying from Narcissus.
Det tidligste på denne side er Juno Receiving the Cestus from Venus (1771), det seneste Rear-Admiral Sir Horatio Nelson, 1758-1805 (1800).
John Flaxman, Prince Augustus Frederick, Duke of Sussex og Horatio Nelson er blandt de 3 værker på denne side, som er i National Portrait Gallery, London's samling.
Ja. Hvert maleri på denne side kan bestilles som en håndmalet oliereproduktion i museums kvalitet eller som et kunstprint i den størrelse, du ønsker, direkte fra maleriets egen side.
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.