1
Lord Bulkeley and his Harriers, his Huntsman John Wells and Whipper-In R. Jenning
Ranku tapytos aliejaus reprodukcija nuo $231 37 × 27 cm
Pusė kaip originalo $534 122 × 90 cm Užsakyti originalaus dydžio →
Veržė Thomas Stringer šlovę tapyba Lord Bulkeley and his Harriers, his Huntsman John Wells and Whipper-In R. Jenning (1773); ji eksponuojama Yale Center for British Art, New Haven. A Great Dane, called 'Turpin' (1778) ir John Corbet, Sir Robert Leighton and John Kynaston with their Horses and Hound (1779) seka juos kolekcionerių bei muziejų lankytojų širdyse. Iš 19 Thomas Stringer kūrinių mūsų kataloge, šios 14 yra labiausiai gerbiamos – kiekvienas jų pateikiamas su datos, muziejaus ir išskirtinės ypatybės aprašymu.
Rangos vieta nulegiama pagal mūsų populiarumumo balas, kurį sudaro kiekvieno kūrinio paieškos, apsilankėjimai ir užsakėjimai. Atnaujinta spalis 2026. Kiekvieną šio puslapio šedevrą galite užsisakyti kaip muziejoriaus kokybės rankų darbo alievinę reprodukciją arba aukščiausios kokybės meninį spausdiną jūsų pasirinktu dydžiu.
6 muziejai, kuriuose saugoma daugiausia šioje pusėje esamų paveikslų.
| Muzejaus | Miestas | Thomas Stringer darbai | Šiojo sąrašo paveikslai |
|---|---|---|---|
 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 |
Mančesteris | 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. Toliau yra A Great Dane, called 'Turpin' (1778) ir John Corbet, Sir Robert Leighton and John Kynaston with their Horses and Hound (1779).
51 metų amžiaus: Lord Bulkeley and his Harriers, his Huntsman John Wells and Whipper-In R. Jenning sukurta 1773 m. ir Thomas Stringer gimė 1722.
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 ir A Gentleman on His Bay Hunter. Viršuje esančioje reitingo lentelėje nurodyta kiekvieno kūrinio metis ir muziejus.
Mūsų kataloge yra 19 Thomas Stringer darbų, datuojamų nuo 1745 iki 1779.
Dauguma jų yra Yale Center for British Art (New Haven), Manchester Art Gallery (Mančesteris) ir National Trust (Bangor). Viršuje esančiame lange muziejai išvardyti po vieni.
1770s laikotarpyje: 6 iš 14 šioje pusėje esančių darbų sukurtos tada, iš jų – Lord Bulkeley and his Harriers, his Huntsman John Wells and Whipper-In R. Jenning.
Pirmasis šioje pusėje yra View of Poynton Hall, Cheshire (1745), paskutinis – John Corbet, Sir Robert Leighton and John Kynaston with their Horses and Hound (1779).
Lord Bulkeley and his Harriers, his Huntsman John Wells and Whipper-In R. Jenning ir John Corbet, Sir Robert Leighton and John Kynaston with their Horses and Hound yra vieni iš 2 šioje puslapyje esamų darbų, kuriuos saugo Yale Center for British Art, New Haven.
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.
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:
