تحديث نوفمبر 2026 · مُرتبة حسب مؤشر شعبيتنا (عمليات البحث، والزيارات، والطلبات لكل عمل فني) · 88 أعمال لـ فرنسيس هايمان في كتالوجنا
باختصار
تُعد Maurice Greene; John Hoadly (1747) اللوحة الأكثر جذباً للأنظار للفنان فرنسيس هايمان؛ والنسخة الأصلية محفوظة في المعرض الوطني للصور، لندن. بعد ذلك، تتجه العين إلى Robert Clive and Mir Jafar after the Battle of Plassey, 1757 (1760) و Portrait of John Percival, later 2nd Earl of Egmont (1711-1770) (1740). من بين 88 من أعمال فرنسيس هايمان في كتالوجنا، تُعد هذه 81 الأعمال هي الأكثر شهرة، حيث تُعرض كل واحدة منها كعمل أصلي فريد مع سنة إنتاجها، والمتحف الذي تضمّه، والسبب وراء خلودها.
A single shaft of light descends from the upper left, cutting through the dimness of a wood-paneled room. It finds the pale skin of a man seated at a table, his hand poised near an open musical score. This is the quiet gravity of creation. The light catches the crisp white of a linen cuff and the soft, powdered texture of a wig, leaving the rest of the chamber in…
We are looking at Robert Clive and Mir Jafar after the Battle of Plassey, 1757, a significant work by the British artist Francis Hayman. Painted about 1760, this oil on canvas captures a pivotal moment in history through a highly structured lens. The full title of the piece is Robert Clive, Mir Muhammad Dja'far Khan and his son Mir Miran (Sadiq Ali Khan Bahadur), with a number of British and…
The air in the room seems to settle around the figure of John Percival, the man who will become the 2nd Earl of Egmont. He sits in a three-quarter length pose, his body angled slightly away while his gaze meets the viewer with a steady, composed directness. There is a quiet weight to his presence, anchored by the deep, dark tones of his velvet coat. The fabric catches the light…
The composition presents a group of men gathered within a formal 18th-century interior. The scene is arranged around a central table, where several figures are seated or standing in a state of social leisure. To the far left, a figure sits on the floor, engaged in the act of sketching in a book, appearing to be the artist himself. The men are dressed in period attire, including powdered wigs, waistcoats,…
In "David Garrick and Hannah Pritchard (née Vaughan) in Benjamin Hoadly's "The Suspicious Husband"" by Francis Hayman, the stage comes alive through the likenesses of two of the most celebrated performers of the eighteenth century. Painted about 1747, the work captures a specific theatrical moment where the boundaries between life and performance blur. Francis Hayman portrays Hannah Pritchard in the role of Clarinda, her presence commanding the space with the…
Two men sit anchored in a room of wood and shadow. Thomas Nuthall and Hambleton Custance occupy a space defined by the weight of their presence and the stillness of the air. They are seated upon a bench, their bodies turned toward one another in a moment of shared repose. Between them, a dog rests, a living anchor in the center of the composition. The light enters from the side,…
The scene unfolds within a crowded, dimly lit interior, capturing a boisterous moment from Shakespeare's Henry IV, Part II. At the center of the composition, the corpulent Falstaff sits amidst a group of companions, his presence commanding the space through sheer physical volume. The arrangement of figures is dynamic, utilizing a theatrical composition that directs the eye from the upright posture of a man on the far left toward the…
In this 1748 portrait, the sitter is captured in a moment of quiet introspection. Draped in a luminous yellow gown accented by soft pink flourishes, she rests her chin upon her hand, her gaze directed toward an unseen point of thought. The composition places her within a lush, verdant setting, where the organic forms of the garden meet the rigid, stone silhouettes of classical statues. This interplay between the ephemeral…
In this portrait from 1750, we find ourselves invited into a private, tranquil moment shared by George Rogers and his wife, Margaret. They are seated together on a bench, positioned beneath the soft canopy of a blossoming tree. The scene is one of stillness, capturing a sense of familial harmony that was a central preoccupation of the mid-18th century. Margaret is draped in a serene blue gown, a color that…
White marble catches a soft, diffuse light, carving a moment of ancient piety out of the stillness. Four men, draped in the heavy folds of togas, lean forward with a shared purpose. They offer their tribute to a central female figure, a goddess of the hunt who receives their gesture with a quiet, steady grace. The scene is a relief, a shallow stage where the weight of the stone mimics…
David Garrick as Gloucester in 'Richard III' by William Shakespeare, Drury Lane 17591760 · The Holburne Museum
12
Le Moine lubrique Le Moine entreprenant (ancien titre)Musée National Magnin
13
The Storm Scene in1760 · Oklahoma City Museum of Art
14
George Rogers and His Wife Margaret and His Sister Margaret Rogers1750 · Yale Center for British Art
15
Tristan and Isolde in Cornwall1965 · Arts Council Collection
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Portrait of David Garrick (left) and William Windham of Felbrigg (right)1717
17
See Saw1742
18
Peter Scheemakers (1691–1781)1739
19
The Humerous Diversion of Sliding on the Ice1742
20
The Elopement Pamela Flying to the Coach, While Lady Danvers Sends Two of Her Footmen to Stop Her (from Samuel Richardson's 'Pamela', 1740) (a Vauxhall supper box picture)1741 · Sizergh Castle
21
Portrait of a Lady (probably the artist's wife)1734 · Royal Albert Memorial Museum
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Self Portrait of the Artist in His Studio1734 · Royal Albert Memorial Museum
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New River at Islington with a Family Going Awalking, a Cow Milking, and the Horns Archly Fixed over the Husband's Head (decorative painting for a supper box at Vauxhall Gardens, London)1742
24
Jonathan Tyers and His Daughter Elizabeth and Her Husband John Wood1752 · Yale Center for British Art
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Playing at Quadrille1750 · Birmingham Museum and Art Gallery
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Portrait of the Artist at His Easel1750 · Royal Albert Memorial Museum
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'Robert Lovelace Preparing to Abduct.'1753
28
The Finding of Infant Moses in the Bullrushes1746
29
View of Copped Hall in Essex, from the Park1746
30
The Muses Paying Homage to Frederick, Prince of Wales and Princess Augusta (The Artists Presenting a Plan for an Academy to Frederick, Prince of Wales and Princess Augusta)1751 · Royal Albert Memorial Museum
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John, Lord Mountstuart, in Masquerade1764
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Sir John Falstaff Raising Recruits1765 · Birmingham Museum and Art Gallery
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The Sculptor Joseph Wilton (1722–1803), with His Wife and Daughter1760
34
The Masters Martin Atkin1742 · متحف فيتزويليام
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Don Quixote Knighted by the Innkeeper1755 · Royal Albert Memorial Museum
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The Good Samaritan1752 · Yale Center for British Art
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The Druids, Or The Conversion Of The Britons To Christianity; Engraved By Simon Francois Ravenet, Pr
38
Peg Woffington as Rosalind with Celia and Touchstone in the Forest of Arden, Act II scene 4 of `As y
39
Captain sir edward vernonNational Maritime Museum
40
Figures Crowning a Statue of HerculesBlickling Hall
41
John Wrightwick Of Tettenhall, Staffsjohn Wrightwick Of Tettenhall, Staffs
42
The wapping landlady
43
Dr Charles Chauncey, MD1747 · Yale Center for British Art
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Jonathan Tyers and His Family1740 · المعرض الوطني للصور
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Mercury Delivering a Message to Jupiter and Juno, with Neptune in Attendance (from an antique relief in the Museo Angelonio)National Trust
46
Samuel Richardson, the Novelist (1684-1761), Seated, Surrounded by his Second Familyتيت بريطانيا
47
A Hound, a Spaniel and a Pug (A Portrait of a Mastiff)
48
The Masters Martin Atkins
49
The Wrestling Scene from 'As You Like It'
50
Portrait Of A Gentleman And His Wife
51
Mayday (The Milkmaids' Garland)
52
Portrait Of The Artist At His Easel
53
George danceFitzwilliam Museum
54
View of Copped Hall in Essex, from across the Lake
55
Bird-Catching by a Decoy with a Whistle and a Net
56
Girl at a Spinning Wheel
57
Jonathan Tyers and his family
58
Grosvenor Bedford and His Family
59
Country Dances round a Maypole
60
John conyers
61
Bird nesting
62
William Ellis ), and His Daughter Elizabeth
63
An Episode from 'The Mock Doctor' or 'Dumb Lady Cured'Sizergh Castle
64
Unknown woman, formerly known as Peg Woffingtonالمعرض الوطني للصور
65
Grosvenor bedfordالمعرض الوطني للصور
66
Self Portrait of the Artist in His Studio
67
The Finding of the Infant Moses in the Bullrushes
68
Don Quixote’s Battle with the Wine Skins
69
Don Quixote Attacking the Barber to Capture the Basin
70
The sight
71
John Wightwick of Tettenhall, Staffordshire
72
A Gentleman with Horse and Groom
73
Pastoral SceneGovernment Art Collection
74
Two East Anglian Gentlemen with a PointerUpton House
75
David Garrick , and Hannah Pritchard , in a Scene from 'The Suspicious Husband'
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Benjamin Hoadly and His Wife
77
Don Quixote Disputing with the Mad Cardenio
78
Maurice greene; john hoadly
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The Barber Reclaiming His Basin from Don Quixote
80
Sacrifice to Apollo (from the Arch of Constantine)National Trust
81
The Emperor Trajan Sacrificing to Mars Victorious (from the Arch of Constantine)National Trust
المواضيع الأربعة التي تتكرر باستمرار في هذه الأعمال الأصلية، مع تقديم أروع مثال لكل منها.
#23 New River at Islington with a Family Going Awalking, a Cow Milking, and the Horns Archly Fixed over the Husband's Head (decorative painting for a supper box at Vauxhall Gardens, London)
#24 Jonathan Tyers and His Daughter Elizabeth and Her Husband John Wood
#34 The Masters Martin Atkin
#57 Jonathan Tyers and his family
المتاحف الـ 8 التي تضم أكبر عدد من اللوحات الموجودة في هذه الصفحة.
| المتحف | المدينة | أعمال فرنسيس هايمان | لوحات من هذه القائمة |
|---|---|---|---|
 Yale Center for British Art |
نيو هيفن | 8 | Portrait of a Group of Gentleman, with the Artist, David Garrick and Hannah Pritchard (née Vaughan) in Benjamin Hoadly's "The Suspicious Husband", Mrs Mary Chauncey |
 المعرض الوطني للصور |
لندن | 5 | Maurice Greene; John Hoadly, Robert Clive and Mir Jafar after the Battle of Plassey, 1757, Jonathan Tyers and His Family |
 Royal Albert Memorial Museum |
إكستر | 5 | Portrait of a Lady (probably the artist's wife), Self Portrait of the Artist in His Studio, Portrait of the Artist at His Easel |
 National Trust |
نورويتش | 4 | The Emperor Constantine Sacrificing to Diana (from the Arch of Constantine), Mercury Delivering a Message to Jupiter and Juno, with Neptune in Attendance (from an antique relief in the Museo Angelonio), Sacrifice to Apollo (from the Arch of Constantine) |
 National Gallery of Ireland |
مدينة دبلن | 2 | Portrait of John Percival, later 2nd Earl of Egmont (1711-1770), Falstaff Recruits from Shakespeare's 'Henry IV', Part II, Act III |
 Sizergh Castle |
Kendal | 2 | The Elopement Pamela Flying to the Coach, While Lady Danvers Sends Two of Her Footmen to Stop Her (from Samuel Richardson's 'Pamela', 1740) (a Vauxhall supper box picture), An Episode from 'The Mock Doctor' or 'Dumb Lady Cured' |
 Birmingham Museum and Art Gallery |
برمنغهام | 2 | Playing at Quadrille, Sir John Falstaff Raising Recruits |
 The Holburne Museum |
باث | 1 | David Garrick as Gloucester in 'Richard III' by William Shakespeare, Drury Lane 1759 |
اختر عقداً لتشاهد العمل الأصلي الذي يجسده.
A single shaft of light descends from the upper left, cutting through the dimness of a wood-paneled room. It finds the pale skin of a man seated at a table, his hand poised near an open musical score. This is the quiet gravity of creation. The light catches the crisp white of a linen cuff and the soft, powdered texture of a wig, leaving the rest of the chamber in…
In this portrait from 1750, we find ourselves invited into a private, tranquil moment shared by George Rogers and his wife, Margaret. They are seated together on a bench, positioned beneath the soft canopy of a blossoming tree. The scene is one of stillness, capturing a sense of familial harmony that was a central preoccupation of the mid-18th century. Margaret is draped in a serene blue gown, a color that…
We are looking at Robert Clive and Mir Jafar after the Battle of Plassey, 1757, a significant work by the British artist Francis Hayman. Painted about 1760, this oil on canvas captures a pivotal moment in history through a highly structured lens. The full title of the piece is Robert Clive, Mir Muhammad Dja'far Khan and his son Mir Miran (Sadiq Ali Khan Bahadur), with a number of British and…
Maurice Greene; John Hoadly (1747)، المعرض الوطني للصور, لندن. ويليها Robert Clive and Mir Jafar after the Battle of Plassey, 1757 (1760) وPortrait of John Percival, later 2nd Earl of Egmont (1711-1770) (1740).
عمر 39 عاماً: يعود تاريخ Maurice Greene; John Hoadly إلى 1747، وقد وُلد فرنسيس هايمان في 1708.
Maurice Greene; John Hoadly, Robert Clive and Mir Jafar after the Battle of Plassey, 1757, Portrait of John Percival, later 2nd Earl of Egmont (1711-1770), Portrait of a Group of Gentleman, with the Artist, David Garrick and Hannah Pritchard (née Vaughan) in Benjamin Hoadly's "The Suspicious Husband", Thomas Nuthall and his Friend Hambleton Custance, Falstaff Recruits from Shakespeare's 'Henry IV', Part II, Act III, Mrs Mary Chauncey, George and Margaret Rogers و The Emperor Constantine Sacrificing to Diana (from the Arch of Constantine). يوضح التصنيف أعلاه سنة كل لوحة والمتحف التابعة له.
يضم كتالوجنا 88 من أعمال فرنسيس هايمان، التي يعود تاريخها من 1717 إلى 1765.
توجد غالبيتها في Yale Center for British Art (نيو هيفن), المعرض الوطني للصور (لندن) و Royal Albert Memorial Museum (إكستر). يدرج جدول المتاحف أعلاه جميعها.
في 1740s: تم إنجاز 15 من أصل 81 من الأعمال في هذه الصفحة خلال تلك الفترة، من بينها Maurice Greene; John Hoadly.
في هذه الصفحة، أقدم الأعمال يعود إلى Portrait of David Garrick (left) and William Windham of Felbrigg (right) (1717) وأحدثها يعود إلى Falstaff Recruits from Shakespeare's 'Henry IV', Part II, Act III (1765).
18th century (13), Portrait (7) و Family (7)، عبر 81 من الأعمال في هذه الصفحة.
Oil On Canvas، لـ 11 من أصل 81 من الأعمال في هذه الصفحة.
Rococo و Rococo portraiture، بناءً على الأعمال الأصلية في هذه الصفحة.
Portrait of a Group of Gentleman, with the Artist, David Garrick and Hannah Pritchard (née Vaughan) in Benjamin Hoadly's "The Suspicious Husband" و Mrs Mary Chauncey: يضم Yale Center for British Art, نيو هيفن 8 من الأعمال المعروضة في هذه الصفحة.
في المشهد الحيوي والمتغير للفن البريطاني في القرن الثامن عشر، لم يمتلك سوى قلة من الشخصيات ذلك التألق المتعدد الجوانب الذي تمتع به فرانسيس هايمان. فمنذ ولادته في إكستر عام 1708، لم يكتفِ هايمان بمراقبة التطور الثقافي لعصره فحسب، بل ساهم بفعالية في تشكيل لغته البصرية. بدأت رحلته بعيداً عن صالات العرض الراقية في لندن، حيث تجذرت مواهبه في العالم العابر والمثير للديكورات المسرحية؛ وقد منحه هذا الانغماس المبكر في الفنون الدرامية ميزة فريدة، إذ غرس فيه فهماً عميقاً للتكوين والضوء والتوتر السردي، وهي العناصر التي حددت لاحقاً براعته في أسلوب الروكوكو. ومع انتقاله من رسام للديكورات المسرحية إلى فنان مستقل في شارع سانت مارتن، حمل هايمان معه روح الحكواتي، القادر على تحويل لوحة ساكنة إلى نافذة تطل على لحظة مسرحية نابضة بالحياة.
إن الجوهر الجمالي لأعمال هايمان متشابك بعمق مع حركة الروكوكو، تلك الحقبة التي تميزت بالرقة والزخرفة والأناقة المبهجة. واستلهاماً من الأساتذة الفرنسيين الأثرياء مثل فرانسوا بوشيه، تبنى هايمان لوحة ألوان من ألوان الباستيل الناعمة وضربات فرشاة انسيابية وإيقاعية. ومع ذلك، لم تكن أعماله زخرفية بحتة؛ بل امتلكت تماسكاً هيكلياً مستمداً من المثُل الكلاسيكية. ومن خلال ارتباطه بالدوائر الفكرية المزدهرة في لندن، دمج حساً بالتناسب والشكل سمح لصور الشخصية (البورتريه) لديه بأن تتجاوز مجرد التشابه الشكلي، لتلتقط بدلاً من ذلك جوهر الشخصية والمكانة الاجتماعية.
تتجذر الأهمية التاريخية لهايمان في دوره التأسيسي في إنشاء الأكاديمية الملكية. وبصفته عضواً مؤسساً وأول أمين مكتبة لهذه المؤسسة، ساعد في وضع حجر الأساس للمعايير الفنية المهنية في بريطانيا. وقد سمح له هذا الموقع المؤثر بجسر الفجوة بين الترفيه الشعبي الصاخب للجماهير وبين المساعي الراقية للنخبة الأكاديمية. ولعل قدرته على التنقل بين هذه العوالم المختلفة تتجلى بأفضل صورة في مجموعة أعماله المتنوعة، التي تتراوح ما بين المشاهد الملحمية الضخمة واللوحات الحميمة الدقيقة.
كانت حصيلته الفنية واسعة النطاق بشكل ملحوظ، حيث أظهر موهبة قادرة على التنقل بين الأنواع الفنية بسلاسة تامة:
في نهاية المطاف، كانت حياة فرانسيس هايمان شهادة على قوة السرد البصري. فمن خلال مزج مسرحية الخشبة مع الأناقة الراقية لأسلوب الروكوكو، خلق مجموعة من الأعمال التي تظل نافذة حيوية على عصر التنوير. إن إرثه لا يستمر فقط في اللوحات التي تحمل اسمه، بل في صلب هيكل تاريخ الفن البريطاني، مما يجعله رائداً حقيقياً ساعد في رفع مكانة الرسام من مجرد حرفي إلى أستاذ أكاديمي.
