Juno Receiving the Cestus from Venus (1771) najpoznatije je djelo umjetnika Guy Head. Echo Flying from Narcissus (1795) i John Flaxman (1792) su sljedeća dva djela koja svijet najbolje poznaje. Od 7 djela umjetnika Guy Head u našem katalogu, izdvajamo ovih 7 koja su najtraženija među kolekcionarima i posjetiteljima muzeja, uz godinu nastanka, naziv muzeja i priču o svakom od njih.
Rangirano prema našoj ocjeni popularnosti, koja objedinjuje broj pretraživanja, posjeta i narudžbi za svako djelo. Ažurirano Studeni 2026. Svako remek-dielo na ovoj stranici može se naručiti kao ručno oslikana uljana reprodukcija muzejske kvalitete ili kao umjetnička štampa, u dimenzijama koje odaberete.
4 muzeja u kojima se nalazi najviše djela s ove stranice.
| Muzej | Grad | Djela autora Guy Head | Slike iz ovog popisa |
|---|---|---|---|
 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). Zatim slijede Echo Flying from Narcissus (1795) i John Flaxman (1792).
11 godina: Juno Receiving the Cestus from Venus datira iz 1771, a Guy Head je rođen/a 1760.
Naš katalog sadrži 7 djela umjetnika Guy Head, datiranih od 1771 do 1800.
Većina njih se nalazi u National Portrait Gallery (London), Detroit Institute of Arts (Detroit) i National Maritime Museum (London). Gornja tablica navodi muzeje jedan po jedan.
U razdoblju 1790s: 4 od ukupno 7 djela na ovoj stranici datira iz tog vremena, među kojima je i Echo Flying from Narcissus.
Najstarije djelo na ovoj stranici je iz Juno Receiving the Cestus from Venus (1771), a najnovije iz Rear-Admiral Sir Horatio Nelson, 1758-1805 (1800).
John Flaxman, Prince Augustus Frederick, Duke of Sussex i Horatio Nelson su među 3 djela na ovoj stranici koja se nalaze u muzeju National Portrait Gallery, London.
Da. Svako djelo na ovoj stranici možete naručiti kao ručno oslikano ulje na platnu muzejske kvalitete ili kao umjetničku tisku, u odabranoj veličini, izravno sa stranice samog djela.
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.