Juno Receiving the Cestus from Venus (1771) on Guy Headin tunnetuin maalaus. Echo Flying from Narcissus (1795) ja John Flaxman (1792) ovat seuraavat kaksi maailman tunnetuinta teosta. Tässä ovat Guy Head teoksista 7 eniten keräilijöiden ja museokävijöiden katsomia 7 teosta, sisältäen teoksen vuosiluvun, museon sekä tarinan jokaisesta teoksesta.
Sijoitus perustuu suosiotulokseemme, joka yhdistää kunkin teoksen hakuja, vierailuja ja tilauksia. Päivitetty marraskuu 2026. Jokainen tämän sivun mestariteos on tilattavissa museolaatuisena, käsinmaalattuna öljyreproduktiona tai taideprinttinä valitsemassasi koossa.
Tämän sivun teoksista eniten sisältävät 4 museota.
| Museo | Kaupunki | Guy Head teokset | Tämän listan maalaukset |
|---|---|---|---|
 National Portrait Gallery |
Lontoo | 3 | John Flaxman, Prince Augustus Frederick, Duke of Sussex, Horatio Nelson |
 Detroit Institute of Arts |
Detroit | 1 | Echo Flying from Narcissus |
 National Maritime Museum |
Lontoo | 1 | Rear-Admiral Sir Horatio Nelson, 1758-1805 |
 Scottish National Gallery |
Edinburgh | 1 | Iris |
Juno Receiving the Cestus from Venus (1771). Seuraavina ovat Echo Flying from Narcissus (1795) ja John Flaxman (1792).
11 vuotta vanha: Juno Receiving the Cestus from Venus on peräisin vuodelta 1771 ja Guy Head on syntynyt vuonna 1760.
Luettelossamme on 7 teosta taiteilijalta Guy Head, aikaväliltä 1771–1800.
Suurin osa niistä sijaitsee kohteessa National Portrait Gallery (Lontoo), Detroit Institute of Arts (Detroit) ja National Maritime Museum (Lontoo). Yllä oleva taulukko listaa museot yksitellen.
Ajanjaksona 1790s: 4 sivun 7 teoksista on peräisin tuolta ajalta, mukaan lukien Echo Flying from Narcissus.
Tämän sivun vanhin on Juno Receiving the Cestus from Venus (1771) ja uusin Rear-Admiral Sir Horatio Nelson, 1758-1805 (1800).
John Flaxman, Prince Augustus Frederick, Duke of Sussex ja Horatio Nelson ovat yksi 3 teoksesta tällä sivulla, jotka kuuluvat National Portrait Gallery, Lontoo kokoelmaan.
Kyllä. Jokainen tämän sivun maalauksista voidaan tilata museolaatuisena, käsinmaalattuna öljyreprospektina tai taidepainoksena valitsemassasi koossa suoraan maalauksen omalta sivulta.
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.