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Lord Bulkeley and his Harriers, his Huntsman John Wells and Whipper-In R. Jenning
Kézzel festett olajfestmény másolat, kezdő áron: $231 37 × 27 cm
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Thomas Stringer nevesebbá tett műve a Lord Bulkeley and his Harriers, his Huntsman John Wells and Whipper-In R. Jenning (1773); amely a Yale Center for British Art múzeumában található, New Haven városában. A Great Dane, called 'Turpin' (1778) és John Corbet, Sir Robert Leighton and John Kynaston with their Horses and Hound (1779) követik őket a gyűjtők és a múzeumi látogatók elősörvetében. A Thomas Stringer katalógusában található 19 mű közül ezek a 14 a legcsodálatosabbak, melyeket dátummal, múzeummal és a műre jellemző különlegességekkel mutatunk be.
A rangsorolást a népszerűségi pontszámunk határozza meg, amely az egyes művek kereséseit, látogatottságát és megrendeléseit ötvözi. Frissítve: november 2026. Az ezen az oldalon található összes remekmű megrendelhető múzeumi minőségű, kézzel festett olajfestmény másolatként vagy fine art nyomtatásként, a választott méretben.
A 6 olyan múzeum, amely a legtöbb ezen az oldalon szereplő festményet őrzi.
| Múzeum | Város | Thomas Stringer művei | Ebből a listából származó festmények |
|---|---|---|---|
 Yale Center for British Art |
New Haven | 2 | Lord Bulkeley and his Harriers, his Huntsman John Wells and Whipper-In R. Jenning, John Corbet, Sir Robert Leighton and John Kynaston with their Horses and Hound |
 Manchester Art Gallery |
Manchester | 2 | Huntsman in a Landscape, 'Driver' with Owner and Groom |
 National Trust |
Bangor | 2 | A Bay Horse, 'Chance', and a Jockey, A Dun Horse, with Its Groom |
 Dunham Massey Hall |
1 | A Great Dane, called 'Turpin' | |
 Attingham Park |
1 | A Black Horse Called 'Bishop', with His Groom, in a Landscape | |
 National Trust |
Altrincham | 1 | A Harlequin Great Dane Called 'Turpin' |
Lord Bulkeley and his Harriers, his Huntsman John Wells and Whipper-In R. Jenning (1773), Yale Center for British Art, New Haven. Ezután következik A Great Dane, called 'Turpin' (1778) és John Corbet, Sir Robert Leighton and John Kynaston with their Horses and Hound (1779).
51 éves: Lord Bulkeley and his Harriers, his Huntsman John Wells and Whipper-In R. Jenning 1773-ből származik, Thomas Stringer pedig 1722 évfolyamon született.
Lord Bulkeley and his Harriers, his Huntsman John Wells and Whipper-In R. Jenning, A Great Dane, called 'Turpin', John Corbet, Sir Robert Leighton and John Kynaston with their Horses and Hound, View of Poynton Hall, Cheshire, Chestnut Hunter with a Groom, A Black Horse Called 'Bishop', with His Groom, in a Landscape, George Heron Galloping, A Harlequin Great Dane Called 'Turpin', Huntsman in a Landscape és A Gentleman on His Bay Hunter. A fenti rangsor a művek évszámát és a múzeumát jelzi.
Katalógusunkban 19 mű található Thomas Stringer alkotótól, 1745 és 1779 közötti időszakból.
A legtöbbjüket Yale Center for British Art (New Haven), Manchester Art Gallery (Manchester) és National Trust (Bangor) találhatja meg. A fenti táblázatban a múzeumokat egymás után soroljuk fel.
1770s idején: a jelen laphonon található 14 műből 6 származik onnan, köztük Lord Bulkeley and his Harriers, his Huntsman John Wells and Whipper-In R. Jenning.
A legkorábbi alkotás ezen az oldalon View of Poynton Hall, Cheshire (1745), a legutóbb pedig John Corbet, Sir Robert Leighton and John Kynaston with their Horses and Hound (1779).
A Lord Bulkeley and his Harriers, his Huntsman John Wells and Whipper-In R. Jenning és John Corbet, Sir Robert Leighton and John Kynaston with their Horses and Hound a 2 mű közül foglal helyet ezen az oldalon, amelyeket a Yale Center for British Art, New Haven tartományában őrzik.
Igen. Az oldalon található minden festmény a festmény saját oldalán, a választott méretben rendelhető meg, hogy muzeumi minőségű, kézzel festett olajfestmény-másolatként vagy kiváló minőségű művészeti nyomtatásként.
Thomas Stringer (1722-1790) remains a somewhat enigmatic figure in the annals of 18th-century British art, yet his captivating equine portraits and meticulously rendered landscapes offer a unique window into the world of aristocratic leisure and rural life. Born in Knutsford, Cheshire, a region steeped in gentry tradition, Stringer’s artistic journey was shaped by both innate talent and a series of influential encounters – from apprenticeship to patronage, and ultimately, a distinctive style that blended observation with a touch of whimsical invention.
Early life provided little indication of the artist he would become. He began as a servant in the household of Peter Legh, a prominent local landowner, an experience that instilled a keen eye for detail and a familiarity with the rhythms of rural existence. However, a falling out led to his departure, setting him on a path toward establishing himself as a professional painter. This early period undoubtedly honed his skills in capturing animal forms – a crucial element in his later success.
Stringer’s career truly blossomed during the mid-18th century, coinciding with a surge in demand for portraits of horses and their riders. The aristocratic pursuit of hunting and equestrian sport fueled this trend, creating a lucrative market for artists capable of depicting these subjects with grace and accuracy. Stringer quickly gained recognition for his ability to capture not just the physical appearance of the animals but also their spirit and movement. His paintings weren’t merely representations; they conveyed a sense of dynamism and connection between horse and rider.
His commissions came primarily from wealthy landowners in Cheshire and beyond – families like the Brooke, Heron, and Smith-Barry, all prominent figures within the region's social and economic landscape. These patrons sought portraits that reflected their status and celebrated their sporting pursuits. Stringer’s work became synonymous with this aristocratic ideal, showcasing a refined aesthetic and an appreciation for the beauty of the countryside.
Stringer's artistic style is immediately recognizable, characterized by a unique blend of observation and illusionistic technique. He possessed a remarkable ability to render details with precision – from the texture of horsehair to the folds in a rider’s clothing – yet he frequently employed techniques that subtly altered the viewer’s perception of space. A common feature of his paintings is the tendency to “disappear” elements into the background, creating an impression of depth and movement. This technique, often described as a form of visual trickery, adds a layer of complexity and intrigue to his compositions.
His use of color was also notable – favoring muted tones and earthy hues that evoked the natural world. He skillfully employed light and shadow to create a sense of atmosphere and drama, further enhancing the realism of his subjects. The signature element of many of his works is the nonchalant crossing of the sitter’s legs, a detail that adds a touch of informality and personality to the portraits.
Among Stringer's most celebrated paintings are “Beauty, a dapple grey,” a captivating portrait of a young mare, and "A gentleman with his hounds in an extensive landscape," which offers a glimpse into the aristocratic pursuit of hunting. “View, Supposedly of Poynton Hall, Cheshire” is another significant work, showcasing Stringer’s ability to capture the beauty of the English countryside.
Despite his prolific output and considerable reputation during his lifetime, Stringer faded from public view after his death in 1790. For many years, his work was largely overlooked, overshadowed by more prominent artists of the era. However, in recent decades, a renewed interest in 18th-century British art has led to a reassessment of Stringer’s contribution – recognizing him as a skilled and imaginative painter who deserves greater recognition for his unique artistic vision. His paintings continue to be exhibited and studied, offering valuable insights into the social and cultural life of Georgian England.
For further information on Thomas Stringer, consider exploring these resources:
