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Lord Bulkeley and his Harriers, his Huntsman John Wells and Whipper-In R. Jenning
Ročno slikana oljna reprodukcija od $231 37 × 27 cm
Velikost kot pri originalu $534 122 × 90 cm Naročite v originalni velikosti →
Slika, ki je prinesla slavo umetniku Thomas Stringer, je Lord Bulkeley and his Harriers, his Huntsman John Wells and Whipper-In R. Jenning (1773); razpostaja v muzeju Yale Center for British Art, New Haven. A Great Dane, called 'Turpin' (1778) in John Corbet, Sir Robert Leighton and John Kynaston with their Horses and Hound (1779) sledeta tem v srcih zbirateljev in obiskovalcev muzejev. Od 19 del umetnika Thomas Stringer v našem katalogu so teh 14 najbolj občudovalnih, od katerih je vsak predstavljen z letnico nastanka, muzejem in tistim, kar ga loči od drugih.
Uvrščeno glede na naš skoraj priljubljenosti, ki združuje število iskanj, obiskov in naročil za vsako delo. Posodobljeno oktober 2026. Vsako podobno delo na tej strani je mogoče naročiti kot muzejsko kakovostno ročno slikano oljno reprodukcijo ali umetniški natisk v izbrani velikosti.
6 muzejev, ki vsebujo največ slik na tej strani.
| Muzej | Mesto | Sloga Thomas Stringer | Slike iz tega seznama |
|---|---|---|---|
 Yale Center for British Art |
New Haven | 2 | Lord Bulkeley and his Harriers, his Huntsman John Wells and Whipper-In R. Jenning, John Corbet, Sir Robert Leighton and John Kynaston with their Horses and Hound |
 Manchester Art Gallery |
Manchester | 2 | Huntsman in a Landscape, 'Driver' with Owner and Groom |
 National Trust |
Bangor | 2 | A Bay Horse, 'Chance', and a Jockey, A Dun Horse, with Its Groom |
 Dunham Massey Hall |
1 | A Great Dane, called 'Turpin' | |
 Attingham Park |
1 | A Black Horse Called 'Bishop', with His Groom, in a Landscape | |
 National Trust |
Altrincham | 1 | A Harlequin Great Dane Called 'Turpin' |
Lord Bulkeley and his Harriers, his Huntsman John Wells and Whipper-In R. Jenning (1773), Yale Center for British Art, New Haven. Nato sledeta A Great Dane, called 'Turpin' (1778) in John Corbet, Sir Robert Leighton and John Kynaston with their Horses and Hound (1779).
51 let: delo Lord Bulkeley and his Harriers, his Huntsman John Wells and Whipper-In R. Jenning iz leta 1773, pri čemer je Thomas Stringer rodil/a v 1722.
Lord Bulkeley and his Harriers, his Huntsman John Wells and Whipper-In R. Jenning, A Great Dane, called 'Turpin', John Corbet, Sir Robert Leighton and John Kynaston with their Horses and Hound, View of Poynton Hall, Cheshire, Chestnut Hunter with a Groom, A Black Horse Called 'Bishop', with His Groom, in a Landscape, George Heron Galloping, A Harlequin Great Dane Called 'Turpin', Huntsman in a Landscape in A Gentleman on His Bay Hunter. Zgornja lestica prikazuje leto in muzej za vsako od njih.
V našem katalogu je navedenih 19 del avtorja Thomas Stringer, datiranih od 1745 do 1779.
Večina njih se nahaja v Yale Center for British Art (New Haven), Manchester Art Gallery (Manchester) in National Trust (Bangor). Zgornja tabela navaja muzeje posamezno.
V obdobju 1770s: 6 od 14 del na tej strani izvira iz tega obdobja, med katerimi je Lord Bulkeley and his Harriers, his Huntsman John Wells and Whipper-In R. Jenning.
Najstarejšo delo na tej strani je iz View of Poynton Hall, Cheshire (1745), najnovejše pa iz John Corbet, Sir Robert Leighton and John Kynaston with their Horses and Hound (1779).
Lord Bulkeley and his Harriers, his Huntsman John Wells and Whipper-In R. Jenning in John Corbet, Sir Robert Leighton and John Kynaston with their Horses and Hound so med 2 dela na tej strani, ki jih hrani Yale Center for British Art, New Haven.
Da. Vsako sliko na tej strani lahko naročite kot muzejsko kakovostno ročno naslikano oljno reprodukcijo ali umetniški natisk v izbrani velikosti neposredno s strani posamezne slike.
Thomas Stringer (1722-1790) remains a somewhat enigmatic figure in the annals of 18th-century British art, yet his captivating equine portraits and meticulously rendered landscapes offer a unique window into the world of aristocratic leisure and rural life. Born in Knutsford, Cheshire, a region steeped in gentry tradition, Stringer’s artistic journey was shaped by both innate talent and a series of influential encounters – from apprenticeship to patronage, and ultimately, a distinctive style that blended observation with a touch of whimsical invention.
Early life provided little indication of the artist he would become. He began as a servant in the household of Peter Legh, a prominent local landowner, an experience that instilled a keen eye for detail and a familiarity with the rhythms of rural existence. However, a falling out led to his departure, setting him on a path toward establishing himself as a professional painter. This early period undoubtedly honed his skills in capturing animal forms – a crucial element in his later success.
Stringer’s career truly blossomed during the mid-18th century, coinciding with a surge in demand for portraits of horses and their riders. The aristocratic pursuit of hunting and equestrian sport fueled this trend, creating a lucrative market for artists capable of depicting these subjects with grace and accuracy. Stringer quickly gained recognition for his ability to capture not just the physical appearance of the animals but also their spirit and movement. His paintings weren’t merely representations; they conveyed a sense of dynamism and connection between horse and rider.
His commissions came primarily from wealthy landowners in Cheshire and beyond – families like the Brooke, Heron, and Smith-Barry, all prominent figures within the region's social and economic landscape. These patrons sought portraits that reflected their status and celebrated their sporting pursuits. Stringer’s work became synonymous with this aristocratic ideal, showcasing a refined aesthetic and an appreciation for the beauty of the countryside.
Stringer's artistic style is immediately recognizable, characterized by a unique blend of observation and illusionistic technique. He possessed a remarkable ability to render details with precision – from the texture of horsehair to the folds in a rider’s clothing – yet he frequently employed techniques that subtly altered the viewer’s perception of space. A common feature of his paintings is the tendency to “disappear” elements into the background, creating an impression of depth and movement. This technique, often described as a form of visual trickery, adds a layer of complexity and intrigue to his compositions.
His use of color was also notable – favoring muted tones and earthy hues that evoked the natural world. He skillfully employed light and shadow to create a sense of atmosphere and drama, further enhancing the realism of his subjects. The signature element of many of his works is the nonchalant crossing of the sitter’s legs, a detail that adds a touch of informality and personality to the portraits.
Among Stringer's most celebrated paintings are “Beauty, a dapple grey,” a captivating portrait of a young mare, and "A gentleman with his hounds in an extensive landscape," which offers a glimpse into the aristocratic pursuit of hunting. “View, Supposedly of Poynton Hall, Cheshire” is another significant work, showcasing Stringer’s ability to capture the beauty of the English countryside.
Despite his prolific output and considerable reputation during his lifetime, Stringer faded from public view after his death in 1790. For many years, his work was largely overlooked, overshadowed by more prominent artists of the era. However, in recent decades, a renewed interest in 18th-century British art has led to a reassessment of Stringer’s contribution – recognizing him as a skilled and imaginative painter who deserves greater recognition for his unique artistic vision. His paintings continue to be exhibited and studied, offering valuable insights into the social and cultural life of Georgian England.
For further information on Thomas Stringer, consider exploring these resources:
