Juno Receiving the Cestus from Venus (1771) on Guy Head kõige kuulsam teos. Echo Flying from Narcissus (1795) ja John Flaxman (1792) on järgmised kaks maailmas kõige tuntumat teost. Guy Head 7 teoseaga meie kataloogist on siin 7 kõige vaadeldavamat teost, mida sammlerid ja muuseumi külastajad on jälginevad, koos aasta, museumi ja iga teose ajaloolise luguga.
Reiting põhineb meie populaarsusindeksil, mis koondab iga teose otsingud, külastused ja tellimused. Uuendatud november 2026. Iga selle lehekülje meistriteos on tellitav muuseumikvaliteedse käsitsi maalatuna õlireproduktsiona või fine art trükkina vastavalt valitud suurusele.
Kümne 4 muuseumi kollektsioonid, mis sisaldavad kõige rohkem sellel lehel esitatud teoseid.
| Muuseumid | Linn | Guy Head teosid | Selle nimekirja maalid |
|---|---|---|---|
 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 |
 Rahvuslik Mereväemuuseum |
London | 1 | Rear-Admiral Sir Horatio Nelson, 1758-1805 |
 Scottish National Gallery |
Edinburgh | 1 | Iris |
Juno Receiving the Cestus from Venus (1771). Järgnevad Echo Flying from Narcissus (1795) ja John Flaxman (1792).
11 aastat vanus: teos Juno Receiving the Cestus from Venus on aastatest 1771 ja kunstnik Guy Head on sündinud aastal 1760.
Meie kataloogis on 7 teost kunstnikult Guy Head, aastatest 1771 kuni 1800.
Enamik neist asub National Portrait Gallery (London), Detroit Institute of Arts (Detroit) ja Rahvuslik Mereväemuuseum (London). Ülemal olev tabel on loetelnud muuseumid üks-eiralt.
Ajalisel perioodil 1790s: 4 7 sellel lehel olevat teost on sellest ajast, მათhulgas Echo Flying from Narcissus.
Sellel lehel on kõige vanem teos Juno Receiving the Cestus from Venus (1771) ja kõige uuem Rear-Admiral Sir Horatio Nelson, 1758-1805 (1800).
John Flaxman, Prince Augustus Frederick, Duke of Sussex ja Horatio Nelson on üks 3 teosest sellel lehel, mida hoiab National Portrait Gallery, London.
Jah. Iga maali sellel lehel on võimalik tellida muuseumikvaliteedilisena käsitööna valminud õlimaalina või fine art trükkina vastavalt valitud måõduna otse maali oma lehekülalt.
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.