Aktualizováno listopad 2026 · seřazeno podle našeho skóre popularity (vyhledávání, návštěvy a objednávky u každého díla) · 48 děl umělce John Ferneley, Snr v našem katalogu
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Hunt Scurry (1832) je obraz autora John Ferneley, Snr, který přitahuje nejvíce pohledů. Poté se zrak přesouvá k Two Racehorses, Called 'Sambo' and 'Pilot' (1830) a Chestnut Racehorses Called 'Rufus' and 'Leporello' (1830). Z 48 děl umělce John Ferneley, Snr v našem katalogu je těchto 38 těch nejznámějších; každé z nich je unikátním originálem s uvedením roku vzniku, muzea a důvodu jeho nesmrtelnosti.
The scene unfolds in Hunt Scurry, a work by the British artist John Ferneley, Snr. Painted about 1832, this piece captures a moment of intense pursuit across the English countryside. The air feels heavy with the anticipation of the chase as horses and hounds move through the landscape. It is a window into the traditional English sport of hunting, a pastime that defines the rhythm of rural life in this…
In this 1830 oil on canvas, we find ourselves in a quiet, pastoral moment that feels almost suspended in time. Two racehorses, Sambo and Pilot, occupy the center of the composition, their muscular forms rendered with a profound sense of weight and reality. They are not merely subjects of a portrait; they possess a physical gravity that commands the space they inhabit. One horse stands slightly behind the other, creating…
Chestnut Racehorses Called 'Rufus' and 'Leporello' is an oil painting by the English artist John Ferneley, Snr. Executed about 1830, the work belongs to a period when the artist established himself as a specialist in portraying sporting horses and hunting scenes. His technical focus centered on the anatomical precision of equine subjects and the specificities of rural pursuits.
A Chestnut Racehorse Called 'Undine' is a portrait by the English painter John Ferneley, Snr. Created about 1831, the work captures a specific equine subject within a quiet, indoor setting. The canvas focuses on the singular presence of the horse, rendered with the precision of a man who understood the anatomy of the stable and the field.
The scene unfolds through the brushstrokes of Two Racehorses, Called 'Cock Robin' and 'Langar', a work that captures a quiet moment of equine connection. This painting is the creation of John Ferneley, Snr, a man whose hand brings the spirit of the English countryside to life. He renders the animals with a precision that makes their presence feel immediate and real. One can almost sense the stillness of the air…
In this 1835 composition, we find ourselves in a quiet pastoral landscape where the energy of the animal kingdom takes center stage. The scene is anchored by two horses, each possessing a distinct character and presence. To the left, a bay horse moves with a sense of purpose, its white blaze catching the light as it gallops toward the viewer. Its white sock on the right hind leg provides a…
A Dandie Dinmont Terrier emerges from the canvas, a singular presence captured by the hand of John Ferneley, Snr. This oil painting, dating from about 1848, finds the subject in a moment of quiet alertness. The artist, born in 1814, brings a meticulous eye to the textures of the natural world, focusing his attention on the specific character of this canine. Every stroke of the brush works to define the…
In this 1847 work, we find ourselves drawn into a secluded woodland setting where a single dog occupies the center of our attention. The animal is captured in a moment of heightened alertness, its head lifted and eyes scanning the surrounding trees. There is a palpable sense of curiosity in its posture, as if it has just caught a scent or a distant sound amidst the stillness of the forest.…
In this 1848 oil painting, A Bay Hunter emerges from the shadows of a doorway. The work is by the English painter John Ferneley, Snr, a man whose brush captured the quiet, heavy moments of equestrian life. Here, the focus rests entirely on a single brown horse. It stands still, its presence filling the space with a sense of patient waiting. The animal wears saddles upon its back, suggesting a…
A Bay Racehorse Called 'Nightmare' is an oil painting by John Ferneley, Snr. Created about 1850, the work belongs to the mid-Victorian period of British sporting art. The artist, born in 1814, was a specialist in portraying equestrian subjects and hunting scenes.
Troop Sergeant Major, the 7th (Princess Royal's) Dragoon Guards1857 · York Army Museum
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Lieutenant Colonel Arthur Bentinck, the 7th (Princess Royal's) Dragoon Guards1857 · York Army Museum
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Lieutenant Colonel Arthur Bentinck, Commanding the 7th (Princess Royal's) Dragoon Guards (1854–1857)1857 · York Army Museum
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Heaton Park RacesNational Gallery of Art
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Mr. C. N. Hogg's Claxton and a Groom in a Stable
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The Marriott Family
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A Saddled Bay Hunter In A Stableyard
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Mr George Marriott On His Bay Hunter Taking A Fence
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Portrait of a chestnut hunter in a stable, with a groom and terrier
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The Bays, Manchester1843
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The 4th Royal Irish Dragoon Guards1848 · York Army Museum
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kingfisher and the lad
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portrait of the racehorse harkaway
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of champions
25
A Portrait of the Racehorse Harkaway, the Winner of the 1838 Goodwood Cup
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Hunter In Wooded Landscape
27
Emlius, Winter of the 1832 Derby, held by a Groom at Doncaster
28
The Rossendale Hunt
29
Cecil, a favorite Hunter of the Earl of Jersey in a Landscape
30
Henry Combe Compton (1789 1855) leading a bay hunter, with hounds
31
Henry Combe Compton (1789 1855) mounted on bay hunter, with hounds
32
Sir John Thorold's Bay Hunters With Their Groom In A Stable
33
Lady Thorold's Hunter and Shetland Pony with Groom
34
Portrait of Sir Henry Goodricke, 7th Baronet, clearing a fence on his grey hunter
35
The Marquess of Huntly's Fleabitten Grey Hunter
36
The Marquis of Cleveland's Chorister , winner of the 1831 St. Leger, held by his trainer John Smith, with jockey John Bartham Day, at Doncaster
37
Lord Lonsdale's Fleabitten Grey Hunter, Brass , at Cottesmore with the Cottesmore Hounds
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Portrait of Sir William Mordaunt Sturt Milner, 4th Bt. (1779 1855) with two Clumber spaniels out shooting
Čtyři témata, která se v těchto originálech nejčastěji objevují, z nichž každé má svůj nejlepší příklad.
4 muzea, v nichž je umístěno nejvíce obrazů z této stránky.
| Muzeum | Město | Díla autora John Ferneley, Snr | Obrazy z tohoto seznamu |
|---|---|---|---|
 National Trust |
Guildford | 7 | Two Racehorses, Called 'Sambo' and 'Pilot', Chestnut Racehorses Called 'Rufus' and 'Leporello', A Chestnut Racehorse Called 'Undine' |
 York Army Museum |
York | 4 | Troop Sergeant Major, the 7th (Princess Royal's) Dragoon Guards, Lieutenant Colonel Arthur Bentinck, the 7th (Princess Royal's) Dragoon Guards, Lieutenant Colonel Arthur Bentinck, Commanding the 7th (Princess Royal's) Dragoon Guards (1854–1857) |
 Yale Center for British Art |
New Haven | 1 | A Dandie Dinmont Terrier |
 National Gallery of Art |
Washington | 1 | Heaton Park Races |
Vyberte si dekádu a prohlédněte si originál, který ji definuje.
The scene unfolds in Hunt Scurry, a work by the British artist John Ferneley, Snr. Painted about 1832, this piece captures a moment of intense pursuit across the English countryside. The air feels heavy with the anticipation of the chase as horses and hounds move through the landscape. It is a window into the traditional English sport of hunting, a pastime that defines the rhythm of rural life in this…
A Dandie Dinmont Terrier emerges from the canvas, a singular presence captured by the hand of John Ferneley, Snr. This oil painting, dating from about 1848, finds the subject in a moment of quiet alertness. The artist, born in 1814, brings a meticulous eye to the textures of the natural world, focusing his attention on the specific character of this canine. Every stroke of the brush works to define the…
A Bay Racehorse Called 'Nightmare' is an oil painting by John Ferneley, Snr. Created about 1850, the work belongs to the mid-Victorian period of British sporting art. The artist, born in 1814, was a specialist in portraying equestrian subjects and hunting scenes.
Hunt Scurry (1832). Následují Two Racehorses, Called 'Sambo' and 'Pilot' (1830) a Chestnut Racehorses Called 'Rufus' and 'Leporello' (1830).
18 let: dílo Hunt Scurry pochází z roku 1832 a John Ferneley, Snr se narodil/a v roce 1814.
Hunt Scurry, Two Racehorses, Called 'Sambo' and 'Pilot', Chestnut Racehorses Called 'Rufus' and 'Leporello', A Chestnut Racehorse Called 'Undine', Two Racehorses, Called 'Cock Robin' and 'Langar', Two Racehorses, Called 'The Sheriff' and 'Bensh', A Dandie Dinmont Terrier, Playmate, A Bay Hunter a A Bay Racehorse Called 'Nightmare'. Hodnocení výše uvádí rok a muzeum pro každé z nich.
Náš katalog obsahuje 48 děl umělce John Ferneley, Snr z let 1830 až 1857.
Většinou v National Trust (Guildford), York Army Museum (York) a Yale Center for British Art (New Haven). V tabulce muzeí výše jsou vypsány všechny.
V období 1830s: 6 z celkem 38 děl na této stránce vzniklo právě tehdy, z toho Hunt Scurry z nich.
Na této stránce je nejstarší dílo z Two Racehorses, Called 'Sambo' and 'Pilot' (1830) a nejnovější z Troop Sergeant Major, the 7th (Princess Royal's) Dragoon Guards (1857).
Horse (9), Landscape (8) a Sky (4) napříč 38 díly na této stránce.
Oil, u 8 z 38 děl na této stránce.
Contemporary realism a Realism, podle originálů na této stránce.
Two Racehorses, Called 'Sambo' and 'Pilot', Chestnut Racehorses Called 'Rufus' and 'Leporello' a A Chestnut Racehorse Called 'Undine': muzeum National Trust, Guildford má v obsluze 7 děl z této stránky.
Formativní roky Ferneleyho byly poznamenány privilegovaným upbringingem v rodině hluboce zasazené do zemědělského podnikání a uměleckého vnímání. Jeho vzdělání se zaměřovalo především na kresbu a malbu, pod vedením otce, který v Johnovi brzy rozpoznal vrozený talent. Tato základní výchova mu vtisla precizní pozornost k detailu – vlastnost, která se stala synonymem pro jeho nezaměnitelný styl.
Středina 19. století svědectila o neuvěřitelném rozmachu zájmu o jeździecké sporty a aristokratické volnočasové aktivity, což podnucovalo rostoucí poptávku po uměleckých ztvárněních těchto témat. Ferneley tento trend mistrovsky využil a vybudoval si postavení jednoho z předních představitelů sportovní malby – žánru charakterizovaného dramatickými kompozicemi a virtuózním vykreslením koní a jezdců v dynamických pózách. Na rozdíl od mnoha tehdejších současníků, kteří upřednostňovali idealizované portréty, Ferneley kladl důraz na anatomickou přesnost a texturální realismus, když s nesmírnou pečlivostí zrekonstruoval svalstvo koní a zachytil jemné nuance světla a stínu na jejich srsti. Jeho plátna pulzovala životem a nesla nejen vizuální informaci, ale i emocionální rezonanci, která odrážela samotný vzrušující zážitek z lovu.
Ferneleyova reputace vyletěla vzhůru, jak získával zakázky od významných rodin po celém Anglicku – včetně hrabatů z Derby a Northumberland – kteří si přáli uctít své statky a lovecké výpravy. Mezi jeho nejslavnější díla patří „Lov v Ascadale“, zachycující úchvatnou scénu psích honičů pronásledujících jel v náročném terénu skotských vysočin, a „Portrét koně“, představující nádherně vykreslený zvěřecí subjekt zahalený do měkkého odpoledního světla. Tyto obrazy jsou dokonalým příkladem Ferneleyovy technické zdatnosti a umělecké vize, které demonstrují jeho schopnost proměnit pouhé pozorování v hluboce působící umění.
