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A River Scene with Thatched Huts by a Bridge over a Weir
Håndmalet oliereproduktion fra $181 37 × 27 cm
Samme størrelse som originalen $237 61 × 46 cm Bestil i original størrelse →
A River Scene with Thatched Huts by a Bridge over a Weir (1767) er det mest berømte maleri af James Lambert, som er i Yale Center for British Arts samling i New Haven. Udvalgt fra de 2 værker af James Lambert i vores katalog er her de 2, 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.
Det museum, der rummer flest af malerierne på denne side.
| Museum | By | Værker af James Lambert | Malerier fra denne liste |
|---|---|---|---|
 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 er året for hvert dateret James Lambert mesterværk på denne side: her er de, i rækkefølge efter berømmelse.
A River Scene with Thatched Huts by a Bridge over a Weir (1767)
42 år gammel: A River Scene with Thatched Huts by a Bridge over a Weir er fra 1767, og James Lambert blev født i 1725.
Vores katalog indeholder 2 værker af James Lambert.
De fleste af dem findes i Yale Center for British Art (New Haven). Tabellen ovenfor lister museerne enkeltvis.
I 1767: 2 af de 2 værker på denne side stammer fra denne periode, herunder A River Scene with Thatched Huts by a Bridge over a Weir.
A River Scene with Thatched Huts by a Bridge over a Weir og Figures with a Donkey and Dog Crossing a Weir er blandt de 2 værker på denne side, som er i Yale Center for British Art, New Haven'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.
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.