Juno Receiving the Cestus from Venus (1771) — самая известная картина Guy Head. Echo Flying from Narcissus (1795) и John Flaxman (1792) — следующие две самые известные работы в мире. Из 7 работ Guy Head в нашем каталоге мы выбрали 7 самых популярных среди коллекционеров и посетителей музеев — с указанием года, музея и истории каждого произведения.
Рейтинг основан на нашем показателе популярности, который учитывает количество поисковых запросов, посещений и заказов для каждой работы. Обновлено Ноябрь 2026. Каждое произведение на этой странице можно заказать как высококачественную масляную репродукцию ручной работы или художественную печать в любом выбранном вами размере.
4 музеев, в которых находится большинство картин со страницы.
| Музей | Город | Работы Guy Head | Картины из этого списка |
|---|---|---|---|
 Национальная портретная галерея |
Лондон | 3 | John Flaxman, Prince Augustus Frederick, Duke of Sussex, Horatio Nelson |
 Институт искусств Детройта |
Детройт | 1 | Echo Flying from Narcissus |
 National Maritime Museum |
Лондон | 1 | Rear-Admiral Sir Horatio Nelson, 1758-1805 |
 Национальная галерея Шотландии |
Эдинбург | 1 | Iris |
Juno Receiving the Cestus from Venus (1771). Далее следуют Echo Flying from Narcissus (1795) и John Flaxman (1792).
11 лет: Juno Receiving the Cestus from Venus датируется 1771 годом, а Guy Head родился в 1760.
В нашем каталоге представлено 7 работ Guy Head, созданных в период с 1771 по 1800.
Большинство из них находятся в Национальная портретная галерея (Лондон), Институт искусств Детройта (Детройт) и National Maritime Museum (Лондон). В таблице выше музеи перечислены по порядку.
За 1790s: 4 из 7 работ на этой странице относятся к этому периоду, в том числе Echo Flying from Narcissus.
Самая ранняя работа на этой странице датирована Juno Receiving the Cestus from Venus (1771), самая поздняя — Rear-Admiral Sir Horatio Nelson, 1758-1805 (1800).
John Flaxman, Prince Augustus Frederick, Duke of Sussex и Horatio Nelson — одни из 3 работ на этой странице, хранящихся в Национальная портретная галерея, Лондон.
Да. Каждую картину на этой странице можно заказать как высококачественную масляную репродукцию ручной работы или художественную печать в выбранном вами размере на странице самой картины.
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.