Juno Receiving the Cestus from Venus (1771) é a pintura mais famosa de Guy Head. Echo Flying from Narcissus (1795) e John Flaxman (1792) são as próximas duas obras que o mundo melhor conhece. Dos 7 trabalhos de Guy Head em nosso catálogo, aqui estão os 7 que colecionadores e visitantes de museus mais observam, com o ano, o museu e a história de cada um.
Classificado de acordo com o nosso índice de popularidade, que combina buscas, visitas e pedidos de cada obra. Atualizado em Novembro 2026. Cada obra-prima nesta página pode ser encomendada como uma reprodução em óleo pintada à mão, com qualidade de museu, ou como uma impressão de fine art, no tamanho de sua escolha.
Os 4 museus que detêm a maioria das pinturas desta página.
| Museus | Cidade | Obras de Guy Head | Pinturas desta lista |
|---|---|---|---|
 National Portrait Gallery |
Londres | 3 | John Flaxman, Prince Augustus Frederick, Duke of Sussex, Horatio Nelson |
 Detroit Institute of Arts |
Detroit | 1 | Echo Flying from Narcissus |
 National Maritime Museum |
Londres | 1 | Rear-Admiral Sir Horatio Nelson, 1758-1805 |
 Scottish National Gallery |
Edimburgo | 1 | Iris |
Juno Receiving the Cestus from Venus (1771). Seguem-se Echo Flying from Narcissus (1795) e John Flaxman (1792).
11 anos: Juno Receiving the Cestus from Venus data de 1771 e Guy Head nasceu em 1760.
Nosso catálogo lista 7 obras de Guy Head, datadas de 1771 a 1800.
A maioria deles está em National Portrait Gallery (Londres), Detroit Institute of Arts (Detroit) e National Maritime Museum (Londres). A tabela acima lista os museus um a um.
Em 1790s: 4 das 7 obras nesta página datam dessa época, entre elas Echo Flying from Narcissus.
A obra mais antiga nesta página é de Juno Receiving the Cestus from Venus (1771), e a mais recente é de Rear-Admiral Sir Horatio Nelson, 1758-1805 (1800).
John Flaxman, Prince Augustus Frederick, Duke of Sussex e Horatio Nelson estão entre as 3 obras nesta página pertencentes ao National Portrait Gallery, Londres.
Sim. Todas as pinturas desta página podem ser encomendadas como uma reprodução em óleo pintada à mão com qualidade de museu ou como uma impressão de fine art, no tamanho de sua escolha, a partir da própria página da pintura.
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.