John Gullys mest berømte maleri er Scene in West Coast Sounds (1863) i The Suter Te Aratoi o Whakatū. Sammen med Morning Mist (1863) og Pohara Beach (1863) udgør de de tre værker, som alle kender. Vores katalog indeholder 47 værker af John Gully; de 47 nedenfor er dem, som verden ser mest på, hver med årstal, det museum der opbevarer det, og hvorfor det er betydningsfuldt.
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 3 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af John Gully | Malerier fra denne liste |
|---|---|---|---|
 The Suter Te Aratoi o Whakatū |
43 | Scene in West Coast Sounds, Morning Mist, Pohara Beach | |
 Te Whare O Rehua Sarjeant Gallery |
3 | Lake Rotomahana 1872, Milford Sound, Arthur's pass | |
 Museum of New Zealand Te Papa Tongarewa |
Wellington | 1 | In the Southern Alps |
Scene in West Coast Sounds (1863), The Suter Te Aratoi o Whakatū. Derefter følger Morning Mist (1863) og Pohara Beach (1863).
44 år gammel: Scene in West Coast Sounds er fra 1863, og John Gully blev født i 1819.
Scene in West Coast Sounds, Morning Mist, Pohara Beach, In the Maitai Valley, Lake Rotomahana 1872, Bishopdale in 1874, In the Southern Alps, Milford Sound, Arthur's pass og Swyncombe Kaikoura. Ranglisten ovenfor angiver årstallet og museet for hver af dem.
Vores katalog indeholder 47 værker af John Gully, dateret fra 1863 til 1888.
De fleste af dem findes i The Suter Te Aratoi o Whakatū, Te Whare O Rehua Sarjeant Gallery og Museum of New Zealand Te Papa Tongarewa (Wellington). Tabellen ovenfor lister museerne enkeltvis.
I 1880s: 21 af de 47 værker på denne side stammer fra denne periode, herunder In the Southern Alps.
Det tidligste på denne side er Scene in West Coast Sounds (1863), det seneste Before the Storm - Riwaka (1888).
Scene in West Coast Sounds, Morning Mist og Pohara Beach er blandt de 43 værker på denne side, som er i The Suter Te Aratoi o Whakatū'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 story of John Gully is one of profound migration and the transformative power of a new horizon. Born in 1819 amidst the historic streets of Bath, England, Gully’s early life was far removed from the ethereal beauty of the landscapes that would later define his legacy. The son of a porter, his path was initially forged in the industrial grit of Stothert's foundry, where a childhood apprenticeship in designing and drafting instilled in him a fundamental understanding of structure and form. While his formal education concluded early, a quiet passion for art began to flicker, nurtured by brief encounters with the delicate techniques of Bristol watercolourists. This period of his life was characterized by the steady rhythms of commerce and clerical work, yet beneath the surface of a banker’s routine, the seeds of a master landscape painter were being sown.
In 1852, a pivotal shift occurred when Gully, driven by the romanticized accounts of New Zealand's untamed beauty, emigrated with his family to the southern hemisphere. Arriving in Auckland and later settling in New Plymouth, he encountered a world of dramatic topography and luminous atmospheres that nothing in England could have prepared him for. This encounter with the wild, sprawling vistas of the South Pacific became the primary catalyst for his artistic evolution. Though he faced significant financial hardships and even periods of bankruptcy, these struggles seemed to deepen his connection to the land, pushing him to capture the very essence of the New Zealand wilderness through his brush.
Gully’s oeuvre is a testament to the breathtaking majesty of the New Zealand landscape, rendered with a sensitivity that transcends mere documentation. His work often focuses on the interplay between light and geological grandeur, particularly within the rugged reaches of the Southern Alps and the serene expanses of glacial lakes. There is a rhythmic quality to his compositions, where the heavy permanence of mountain ranges meets the fleeting, translucent nature of mist and water. Through his eyes, we see the St Arnaud Range or the Awatere Valley not just as geographical locations, but as living, breathing entities shaped by the elements.
Technically, Gully’s development was marked by a transition from the structured precision of his drafting background to a more fluid, atmospheric approach. His ability to render the subtle gradations of light across a lake surface or the daunting scale of a mountain peak suggests an artist deeply attuned to the nuances of the natural world. His paintings often serve as historical windows, capturing the pristine state of the New Zealand landscape before the heavy hand of colonial development had fully altered its character. In doing so, he achieved a level of historical significance that elevates his work from simple scenery to vital cultural heritage.
The legacy of John Gully remains etched in the visual memory of the landscapes he loved. His life, moving from the industrial heart of England to the remote beauty of Nelson, mirrors the very movement of light across a mountain pass—a journey from shadow into clarity. Today, his works stand as enduring tributes to a period of discovery and the timeless allure of the natural world.