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Juno Receiving the Cestus from Venus
El boyaması yağlı boya reprodüksiyon fiyatları $231 26 × 39 cm
Juno Receiving the Cestus from Venus (1771), Guy Head tarafından yapılmış en ünlü tablodur. Echo Flying from Narcissus (1795) ve John Flaxman (1792), dünyanın en iyi bildiği sonraki iki eserdir. Katalogumuzdaki Guy Head adlı sanatçının 7 eseri arasından, koleksiyonerlerin ve müze ziyaretçilerinin en çok ilgi gösterdiği, yılı, sergilendiği müze ve hikayesiyle birlikte sunulan 7 eser şunlardır:
Her bir eser için yapılan aramalar, ziyaretler ve siparişlerin birleşimiyle oluşturulan popülerlik puanımıza göre sıralanmıştır. Kasım 2026 tarihinde güncellenmiştir. Bu sayfadaki her bir şaheser, seçtiğiniz boyutta müze kalitesinde, el yapımı yağlı boya reprodüksiyon veya sanat baskısı olarak sipariş edilebilir.
Bu sayfadaki tabloların çoğuna ev sahipliği yapan 4 müze.
| Müze | Şehir | Guy Head Eserleri | Bu listedeki tablolar |
|---|---|---|---|
 National Portrait Gallery |
Londra | 3 | John Flaxman, Prince Augustus Frederick, Duke of Sussex, Horatio Nelson |
 Detroit Institute of Arts |
Detroit | 1 | Echo Flying from Narcissus |
 National Maritime Museum |
Londra | 1 | Rear-Admiral Sir Horatio Nelson, 1758-1805 |
 Scottish National Gallery |
Edinburgh | 1 | Iris |
Juno Receiving the Cestus from Venus (1771). Ardından Echo Flying from Narcissus (1795) ve John Flaxman (1792) gelir.
11 yaşında: Juno Receiving the Cestus from Venus 1771 yılına aittir ve Guy Head 1760 yılında doğmuştur.
Kataloğumuz, Guy Head tarafından 1771 ile 1800 tarihleri arasında üretilen 7 eseri listelemektedir.
Çoğu National Portrait Gallery (Londra), Detroit Institute of Arts (Detroit) ve National Maritime Museum (Londra) bünyesinde bulunmaktadır. Yukarıdaki tablo müzeleri tek tek listelemektedir.
1790s döneminde: Bu sayfadaki 7 eserin 4 tanesi o döneme aittir, bunlar arasında Echo Flying from Narcissus bulunmaktadır.
Bu sayfadaki en eski eser Juno Receiving the Cestus from Venus (1771), en yeni eser ise Rear-Admiral Sir Horatio Nelson, 1758-1805 (1800)'dir.
John Flaxman, Prince Augustus Frederick, Duke of Sussex ve Horatio Nelson, National Portrait Gallery, Londra bünyesinde bulunan bu sayfadaki 3 eser arasında yer almaktadır.
Evet. Bu sayfadaki her tablo, tablonun kendi sayfasından seçtiğiniz boyutta, müze kalitesinde, el yapımı bir yağlı boya reprodüksiyon veya bir sanat baskısı olarak sipariş edilebilir.
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.