Juno Receiving the Cestus from Venus (1771) yra garsiausias Guy Head paveikslas. Echo Flying from Narcissus (1795) ir John Flaxman (1792) yra kitos dvi labiausiai žinomos pasaulyje kūrybosios darbai. Iš 7 Guy Head darbų mūsų kataloge – štai 7 dažniausiai analizuojami kolekcionerių bei lankytojų muziejų, su informacija apie metus, muziejų bei kiekvieno kūrinio istoriją.
Rangos vieta nulegiama pagal mūsų populiarumumo balas, kurį sudaro kiekvieno kūrinio paieškos, apsilankėjimai ir užsakėjimai. Atnaujinta lapkritis 2026. Kiekvieną šio puslapio šedevrą galite užsisakyti kaip muziejoriaus kokybės rankų darbo alievinę reprodukciją arba aukščiausios kokybės meninį spausdiną jūsų pasirinktu dydžiu.
4 muziejai, kuriuose saugoma daugiausia šioje pusėje esamų paveikslų.
| Muzejaus | Miestas | Guy Head darbai | Šiojo sąrašo paveikslai |
|---|---|---|---|
 National Portrait Gallery |
Londras | 3 | John Flaxman, Prince Augustus Frederick, Duke of Sussex, Horatio Nelson |
 Detroito meno institutas |
Detroitas | 1 | Echo Flying from Narcissus |
 National Maritime Museum |
Londonas | 1 | Rear-Admiral Sir Horatio Nelson, 1758-1805 |
 Škotijos Nacionalinė galerija |
Edinburgas | 1 | Iris |
Juno Receiving the Cestus from Venus (1771). Toliau eina Echo Flying from Narcissus (1795) ir John Flaxman (1792).
11 metų amžiaus: Juno Receiving the Cestus from Venus sukurta 1771 m. ir Guy Head gimė 1760.
Mūsų kataloge yra 7 Guy Head darbų, datuojamų nuo 1771 iki 1800.
Dauguma jų yra National Portrait Gallery (Londras), Detroito meno institutas (Detroitas) ir National Maritime Museum (Londonas). Viršuje esančiame lange muziejai išvardyti po vieni.
1790s laikotarpyje: 4 iš 7 šioje pusėje esančių darbų sukurtos tada, iš jų – Echo Flying from Narcissus.
Pirmasis šioje pusėje yra Juno Receiving the Cestus from Venus (1771), paskutinis – Rear-Admiral Sir Horatio Nelson, 1758-1805 (1800).
John Flaxman, Prince Augustus Frederick, Duke of Sussex ir Horatio Nelson yra vieni iš 3 šioje puslapyje esamų darbų, kuriuos saugo National Portrait Gallery, Londras.
Taip. Kiekvieną šioje pusėje esantį paveikslą galite užsakyti kaip muziejoriaus kokybės rankų darbų alievinę kopiją arba aukščiausios kokybės spausdinį pasirinktu jūsų pageidaujamu dydžiu tiesiai iš paties paveikslą puslapio.
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.