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Baba-Ali, Arabian Horse of General Henri d'Orléans, Duke of Aumale
Reproducere pictată manual în ulei de la $181 35 × 29 cm
Aceeași dimensiune ca originalul $240 60 × 49 cm Comandă în dimensiunea originală →
Baba-Ali, Arabian Horse of General Henri d'Orléans, Duke of Aumale (1852) este cea mai celebră pictură a lui Daniel Casey, păstrată la Musée Condé în Chantilly. Dintr-un total de 1 opere ale lui Daniel Casey din catalogul nostru, iată cele 1 cele mai căutate de colecționari și vizitatori de muzee, incluzând anul, muzeul și povestea fiecăreia.
Clasate în funcție de scorul nostru de popularitate, care combină numărul de căutări, vizitele și comenzile pentru fiecare operă. Actualizat Noiembrie 2026. Fiecare capodoperă de pe această pagină poate fi comandată ca o reproducere pictată manual în ulei, de calitate muzeală, sau ca o printare de artă fină, la dimensiunea aleasă de dumneavoastră.
Muzeul care deține cele mai multe dintre picturile prezentate pe această pagină.
| Muzee | Oraș | Lucrări lui Daniel Casey | Picturi din această listă |
|---|---|---|---|
 Musée Condé |
Chantilly | 1 | Baba-Ali, Arabian Horse of General Henri d'Orléans, Duke of Aumale |
1852 este anul în care a fost creată fiecare capodoperă datată a lui Daniel Casey de pe această pagină: iată-le, în ordinea celebrității.
Baba-Ali, Arabian Horse of General Henri d'Orléans, Duke of Aumale (1852)
32 ani: Baba-Ali, Arabian Horse of General Henri d'Orléans, Duke of Aumale datează din 1852, iar Daniel Casey s-a născut în 1820.
Catalogul nostru include 1 lucrări ale lui Daniel Casey.
Majoritatea acestora se află în Musée Condé (Chantilly). Tabelul de mai sus enumeră muzeele pe rând.
Da. Orice pictură de pe această pagină poate fi comandată ca o reproducere pictată manual în ulei, de calitate muzeală, sau ca o print de artă fină, în dimensiunea aleasă de dumneavoastră, direct de pe pagina propriei picturi.
Born in Bordeaux to Irish parents, Daniel Casey lived a life shaped by the shifting landscapes of nineteenth-century Europe. His early years in France provided a foundation that would later merge with the rigorous training he received in Antwerp. It was within the walls of the Antwerp Academy that he formed a bond that would define much of his personal history, meeting and befriending Ford Madox Brown. The two young men shared more than just an education; they shared lodgings at the Hotel du Pot d'Etain, living through the shared struggles of student life on the Continent.
This companionship was marked by deep devotion and shared hardship. When tragedy struck the household in Paris in 1846, with the passing of Brown’s wife from consumption, Casey did not turn away. He lent his strength to the effort of raising funds to return her body to England, a gesture that spoke to the profound loyalty between the two artists. While Brown eventually returned to England, Casey remained rooted in France, finding his place within the French art scene and exhibiting his works at the Salon.
In his brushwork, Casey found a particular calling in the depiction of horses. He possessed an eye for the movement and temperament of these animals, often capturing them amidst the elements. His canvases frequently sought to portray the raw energy of nature, such as in his work Horses in a storm. There is a certain weight to his subjects, a sense of physical presence that suggests he understood the muscle and bone beneath the coat.
His repertoire included varied subject matter that moved between the dramatic and the observational:
Though he lived much of his life on the Continent, Casey’s influence reached beyond the borders of France. His death in Paris in 1885 marked the end of a life spent navigating the intersections of Irish heritage and French training. Even after his passing, the connections he maintained lived on through the memories of his peers. When he died, the loss was felt by those who had known him in the studios of Antwerp and the streets of Paris.
The historical footprint of his work remains visible in collections where his sketches and oils are preserved. A pencil drawing of him, created by Ford Madox Brown, resides in the Birmingham Museum and Art Gallery, serving as a quiet link to the shared history of two men who once navigated the art worlds of Europe together. His paintings continue to appear in the halls of auction houses, reminding viewers of a painter who found his true voice in the strength of the horse and the atmosphere of the French landscape.