Juno Receiving the Cestus from Venus (1771) is het beroemdste schilderij van Guy Head. Echo Flying from Narcissus (1795) en John Flaxman (1792) zijn de volgende twee werken die de wereld het beste kent. Van de 7 werken van Guy Head in onze catalogus zijn dit de 7 meest bekeken werken door verzamelaars en museumbezoekers, inclusief het jaar, het museum en het verhaal achter elk werk.
Gerangschikt op basis van onze populariteitsscore, die de zoekopdrachten, bezoeken en bestellingen voor elk werk combineert. Bijgewerkt in november 2026. Elk meesterwerk op deze pagina kan worden besteld als een handgeschilderde olieverfreproductie van museumkwaliteit of als een fine art print, in de door u gekozen afmeting.
De 4 musea met de meeste schilderijen op deze pagina.
| Museum | Stad | Werken van Guy Head | Schilderijen uit deze lijst |
|---|---|---|---|
 National Portrait Gallery |
Londen | 3 | John Flaxman, Prince Augustus Frederick, Duke of Sussex, Horatio Nelson |
 Detroit Institute of Arts |
Detroit | 1 | Echo Flying from Narcissus |
 National Maritime Museum |
Londen | 1 | Rear-Admiral Sir Horatio Nelson, 1758-1805 |
 Scottish National Gallery |
Edinburgh | 1 | Iris |
Juno Receiving the Cestus from Venus (1771). Daarna volgen Echo Flying from Narcissus (1795) en John Flaxman (1792).
11 jaar oud: Juno Receiving the Cestus from Venus dateert uit 1771 en Guy Head werd geboren in 1760.
Onze catalogus bevat 7 werken van Guy Head, gedateerd van 1771 tot 1800.
De meeste bevinden zich in National Portrait Gallery (Londen), Detroit Institute of Arts (Detroit) en National Maritime Museum (Londen). De bovenstaande tabel somt de musea één voor één op.
In 1790s: 4 van de 7 werken op deze pagina dateren uit die periode, waaronder Echo Flying from Narcissus.
De oudste op deze pagina is Juno Receiving the Cestus from Venus (1771), de nieuwste Rear-Admiral Sir Horatio Nelson, 1758-1805 (1800).
John Flaxman, Prince Augustus Frederick, Duke of Sussex en Horatio Nelson behoren tot de 3 werken op deze pagina die in het National Portrait Gallery, Londen worden bewaard.
Ja. Elk schilderij op deze pagina kan worden besteld als een handgeschilderde olieverfreproductie van museumkwaliteit of als een fine art print, in de door u gekozen afmeting, via de eigen pagina van het schilderij.
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.