Juno Receiving the Cestus from Venus (1771) er det mest kjente maleriet av Guy Head. Echo Flying from Narcissus (1795) og John Flaxman (1792) er de to neste verkene verden kjenner best. Av de 7 verkene til Guy Head i vår katalog, er dette de 7 som samlere og museumsgjester studerer mest, inkludert årstall, museum og historien bak hvert verk.
Rangert etter vår popularitetsscore, som kombinerer søk, besøk og bestillinger for hvert verk. Oppdatert November 2026. Hvert mesterverk på denne siden kan bestilles som en håndmalt oljereproduksjon av museumskvalitet eller som et kunsttrykk, i den størrelsen du velger.
De 4 museene som innehar flest av maleriene på denne siden.
| Museum | By | Verker av Guy Head | Malerier fra denne listen |
|---|---|---|---|
 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). Deretter følger Echo Flying from Narcissus (1795) og John Flaxman (1792).
11 år gammel: Juno Receiving the Cestus from Venus er fra 1771, og Guy Head ble født i 1760.
Vår katalog inneholder 7 verk av Guy Head, datert fra 1771 til 1800.
De fleste av dem befinner seg i National Portrait Gallery (London), Detroit Institute of Arts (Detroit) og National Maritime Museum (London). Tabellen ovenfor lister opp museene ett etter ett.
I 1790s: 4 av de 7 verkene på denne siden er fra denne perioden, inkludert Echo Flying from Narcissus.
Det eldste på denne siden er Juno Receiving the Cestus from Venus (1771), det nyeste Rear-Admiral Sir Horatio Nelson, 1758-1805 (1800).
John Flaxman, Prince Augustus Frederick, Duke of Sussex og Horatio Nelson er blant de 3 verkene på denne siden som er i National Portrait Gallery, London sin samling.
Ja. Hvert maleri på denne siden kan bestilles som en håndmalt oljereproduksjon av museumskvalitet eller som et kunsttrykk i ønsket størrelse, direkte fra maleriets egen side.
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.