Juno Receiving the Cestus from Venus (1771) je najpoznatije delo umetnika Guy Head. Echo Flying from Narcissus (1795) i John Flaxman (1792) su sledeća dva dela koja svet najbolje poznaje. Od 7 dela umetnika Guy Head u našem katalogu, izdvajamo ovih 7 koja kolekcionari i posetioci muzeja najčešće posmatraju, uz navođenje godine, muzeja i priče o svakom od njih.
Rangirano prema našem koeficijentu popularnosti, koji kombinuje pretrage, posete i porudžbine za svako delo. Ažurirano новембар 2026. Svako remek-delo na ovoj stranici može se naručiti kao ručno oslikana uljana reprodukcija muzejskog kvaliteta ili kao umetnička štampa, u dimenzijama koje odaberete.
4 muzeja u kojima se nalazi najviše slika sa ove stranice.
| Muzej | Grad | Radovi umetnika Guy Head | Slike iz ovog spiska |
|---|---|---|---|
 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). Sledeći su Echo Flying from Narcissus (1795) i John Flaxman (1792).
11 godina: Juno Receiving the Cestus from Venus datira iz 1771, a Guy Head je rođen/a 1760.
Naš katalog sadrži 7 dela umetnika Guy Head, datiranih od 1771 do 1800.
Većina njih se nalazi u National Portrait Gallery (London), Detroit Institute of Arts (Detroit) i National Maritime Museum (London). U tabeli iznad su muzeji navedeni jedan po jedan.
U periodima 1790s: 4 od ukupno 7 dela na ovoj stranici datiraju iz tog vremena, od čega je Echo Flying from Narcissus.
Najstarije delo na ovoj stranici je iz Juno Receiving the Cestus from Venus (1771), a najnovije iz Rear-Admiral Sir Horatio Nelson, 1758-1805 (1800).
John Flaxman, Prince Augustus Frederick, Duke of Sussex i Horatio Nelson su među 3 dela na ovoj stranici koja se nalaze u National Portrait Gallery, London.
Da. Svaku sliku sa ove stranice možete naručiti kao ručno oslikano ulje na platnu muzejskog kvaliteta ili kao umetnički print, u veličini koju odaberete, direktno sa stranice te slike.
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.