Ophavsret Dette værk er i det offentlige domæne. Henry Howard døde i 1847; ophavsretten varer 70 år efter kunstnerens død, så den udløb i 1917.
I kontekst
Windsor Park — Henry Howard
Originalen måler 112 × 140 cm (højde × bredde), vist her ved siden af en voksen person af gennemsnitlig højde.
Øverste række: årene. Nederste række: kunstnerens alder ved begyndelsen og slutningen af hver periode — 0 ved fødsel, 78 ved død.
Malet da kunstneren var 66 år gammel. Kunstneren blev 78 år gammel. 26 af de 28 daterede værker af denne kunstner i vores katalog er skabt tidligere.
Skyggelagt: Henry Howard' livstid (1769–1847) ▲ dette værk, 1835 hvert dateret maleri, årti for årti
Første værker: frem til 1803 Primære arbejdsår: 1803–1832 Senere værker: fra 1832
Disse tre intervaller opdeler de værker i denne katalog, der er dateret, i et første kvartal, en midterste halvdel og et sidste kvartal. De udgør ikke kunstnerens samlede produktion: en tynd periode kan være et hul i dokumentationen snarere end en stille periode. De samme år, som kunstnerens liv er vævet ind i dem
Vælg et af de ovenstående værker: nævn to ting, det har til fælles med dette, og én ting, der er forskellig.
Se flere lignende værker her: originaluniqueart.com/da/art/similar/henry-howard-windsor-park-AQV2EB-en/
Målt ud fra billedet
Primær farve
Phthalo Green #331f09
Katalogiseret palet
Disse farver i kunstnerens samlede palet Find andre malerier efter farve
De ti førende lande
Find de tre mørkeste lande på kortet. Findes det museum, der opbevarer dette maleri, i et af dem? Skriv én grund på, hvorfor folk langt væk måske ville se på det.
Sammen udgør disse værker 100,0% af den samlede opmærksomhed, som denne kunstners malerier har modtaget i løbet af de sidste tolv måneder. Kataloget indeholder 39 værker af denne kunstner, hvoraf 7 er blevet set mindst én gang. Dette maleri er endnu ikke blevet vist i denne periode — det afslutter listen uden en rangering. Det samme gælder måned for måned
Søjlerne måler opmærksomhed, ikke kvalitet. Vælg værket øverst og dette her: nævn én ting, der kan gøre et maleri berømt udover selve det tekniske håndværk.
Kunstner og museum
Født i London, United Kingdom
Born in the vibrant heart of London in 1769, Henry Howard emerged as a distinguished figure within the prestigious circles of British portraiture and history painting during the Regency era. His journey into the world of fine art began with formal instruction under the painter Philip Reinagle, a mentorship that laid the essential groundwork for his technical mastery. As a student at the Royal Academy Schools, Howard’s precocious talent was quickly recognized; he earned both a silver medal for drawing from life and a gold medal for historical painting, specifically for his evocative work Caractacus Recognising the Dead Body of his Son. This early success signaled the arrival of an artist capable of blending the rigorous demands of academic precision with a profound, narrative-driven soul.
The trajectory of Howard’s development was deeply shaped by his travels across the European continent. In 1791, his explorations through Italy, France, and Switzerland provided him with a firsthand encounter with the grandeur of classical antiquity. In Rome, he immersed himself in the study of sculpture under the guidance of masters like John Flaxman. These experiences instilled in him a reverence for the sculptural form and the dramatic potential of mythological themes. This period of wandering was not merely an educational excursion but a spiritual immersion into the Neoclassical ideals that would later define his compositions, allowing him to infuse his canvases with a sense of timelessness and monumental grace.
Howard’s artistic output was characterized by a remarkable versatility, oscillating between the intimate psychological depth of portraiture and the sweeping drama of historical scenes. While he is celebrated for capturing the likenesses of his contemporaries with meticulous attention to detail, it was his ability to breathe life into legendary narratives that truly set him apart. His fascination with the Etruscan School and the influence of Benjamin West allowed him to explore themes of mythology and literature with a theatrical flair. Whether depicting scenes from Milton’s Paradise Lost or illustrating the works of Alexander Pope, Howard utilized light and shadow to guide the viewer's eye through complex, emotionally charged environments.
His technical prowess extended beyond the brush; Howard was also a gifted draftsman and designer. His contributions to the decorative arts were significant, including designs for Josiah Wedgwood’s renowned pottery, demonstrating his ability to translate fine art principles into functional beauty. This multidisciplinary approach—spanning from large-scale oil paintings to delicate engravings and sculptural studies—reflects an artist who viewed art as a cohesive language of form and light. His work often featured a subtle tonal gradation and a precise command of composition that transformed even the most static subjects into dynamic visual experiences.
The latter years of Howard’s life were marked by profound institutional importance within the British art world. His ascent within the Royal Academy was both steady and prestigious, moving from an associate member to a full member in 1808. His dedication to the institution was unparalleled; he served as the Secretary of the Academy and eventually held the esteemed position of Professor of Painting at the Royal Academy Schools. Through these roles, Howard did more than just create art—he helped shape the pedagogical standards for the next generation of British painters, ensuring that the traditions of classical training and historical narrative would endure.
Though his name may sometimes be overshadowed by the titans of his era, such as Reynolds or Hogarth, Henry Howard’s contribution to the 19th-century aesthetic remains indelible. His ability to marry the elegance of Neoclassicism with a burgeoning sense of realism allowed him to capture the essence of an era in transition. Today, his works stand as vital historical documents, offering a window into the refined sensibilities and the dramatic imagination of the Regency period. His legacy is found not only in the museums that house his masterpieces but in the very foundation of academic painting he helped to build.
Udstillet i Petworth, United Kingdom
Petworth House is a late 17th-century Grade I listed country house situated in the parish of Petworth, West Sussex, England. The current structure was built in 1688 by Charles Seymour, the 6th Duke of Somerset. This building replaced an earlier manor house and was designed to reflect the architectural ambitions of the era. The house served as the southern home for the Percy family, the earls of Northumberland, for many generations.
The ownership of the estate transitioned through several prominent families, including the Wyndham family. In 1947, Charles Wyndham, the 3rd Baron Leconfield, handed the house over to the nation. Since that time, the property has been managed by the National Trust as Petworth House & Park. The house remains a significant site for the preservation of the collections assembled by its former residents.
The current structure of Petworth House is a product of the late 17th century, having been rebuilt between 1688 and 1702. Designed in the Baroque style, the house was inspired by the grand palaces of Europe, emphasizing order and symmetry. This architectural character is further defined by the intricate wood-carvings of Grinling Gibbons, whose work remains integrated into the interior fabric. The house underwent significant alterations during the 1870s under the direction of the architect Anthony Salvin.
The interior spaces reflect various periods of architectural development and refinement. The North Gallery was added to the house between 1824 and 1825. In the Saloon, the floor is covered by an Axminster carpet featuring a design by Robert Adam. These elements contribute to the layered history of the building, where Baroque foundations meet later Victorian and Regency additions.
The collection comprises fine art spanning several centuries, held within the house in its original context. The assembly includes significant portraiture and works across various genres, from formal portraiture to landscape paintings. These holdings are integrated into the architectural fabric of the rooms, contributing to the established character of the interior spaces.
The grand state rooms contain works by artists such as Anthony van Dyck, J. M. W. Turner, Joshua Reynolds, and Thomas Gainsborough. The selection includes paintings by Titian and William Blake, alongside works by John Constable. These pieces remain largely in the rooms where they were once displayed alongside the furniture and decorative objects that accompanied them.
The Right Honourable George Grenville, 1767 - Joshua Reynolds
Macbeth and the Witches, 1786 - Joshua Reynolds
A Vision of the Last Judgment, 1808 - William Blake
Cattle at a Fountain, 1786 - Thomas Gainsborough
Jessica, 1828 - J. M. W. Turner
An Unknown Cardinal, 1545 - Titian
The assembly of paintings within the house reflects the long-standing patronage of the Northumberland and Seymour/Somerset families. Significant portraiture by Anthony van Dyck is integrated into the architectural fabric of the rooms, including depictions of King Charles I on horseback and Lady Dorothy Percy. These works remain in their original context, preserved alongside the furniture and decorative objects that once accompanied them. Titian is also represented by works such as an unknown cardinal and an unknown man in a black plumed hat.
The landscape and figurative traditions are represented by several key artists. Thomas Gainsborough’s Rocky Wooded Landscape with Rustic Lovers by a Pool, painted about 1774–1777, was acquired by the 3rd Earl of Egremont. J. M. W. Turner’s landscapes are also held here, many of which were inspired by the views within the surrounding parkland. Joshua Reynolds contributed several portraits to the collection, including Macbeth and the Witches and Charity. The collection also contains works by William Blake, such as A Vision of the Last Judgment.
The Right Honourable George Grenville, 1767 - Joshua Reynolds
Cattle at a Fountain, 1786 - Thomas Gainsborough
Jessica, 1828 - J. M. W. Turner
A Scene from 'The Wife of Bath's Tale', 1812 - Henry Fuseli
The 700-acre deer park surrounding the house was landscaped by Capability Brown. This landscape was later immortalised in the paintings of J. M. W. Turner. The terrain features a 12-acre woodland garden known as the Pleasure Ground. Within these grounds, visitors may find a Doric temple and an Ionic rotunda.
A large herd of fallow deer inhabits the parkland. There are over 700 fallow deer to observe across the estate. The parkland remains a central feature of the Petworth landscape.
originaluniqueart.com/da/art/download/henry-howard-windsor-park-AQV2EB-en/
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Windsor Park — Henry Howard
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Phthalo Green (#331f09) er den dominerende farve i "Windsor Park" af Henry Howard.
Farverne i "Windsor Park" af Henry Howard fremviser en Balanced Soft mætning med en Balanced intensitet.
"Windsor Park" er tilgængelig som et højopløseligt digitalt billeddownload og kan købes direkte på dens Digitalt billede-side.