Uuendatud november 2026 · järjestatud meie populaarsusindeksi järgi (otsingud, külastused ja tellimused igale teosele) · 148 teost David Cox Vanem meie kataloogis
Lühidalt
Galleriist vaadatuna on David Cox Vanem kõige kuulsam teos The Garden Terrace at Haddon Hall (1849), mille originaal ripub The Ashmolean Museum of Art And Archaeology-is, Oxford. Cottage in Herefordshire (1820) ja Crossing the Sands (1848) täidavad kolmikut, mille iga silm tunnistab. Kunstnii David Cox Vanem 148 teose põhjal esitleb galeriis allpool 100 kõige kuulsumat, kus iga originaal on märgitud aastaga, muuseumiga ja kirjeldatud, mis teeb selle unikaalseks.
A stone staircase anchors the scene, its ornate railings climbing toward a massive tree that dominates the right side of the frame. Lush greenery spills over the steps, interrupted only by small bursts of red flowers at the base. Two figures move near the bottom, their forms softened by the light, appearing as mere shadows within the garden's depth. The sky above is a heavy, overcast veil, casting a soft,…
Cottage in Herefordshire by David Cox The Elder is a detailed pencil drawing created about 1820. The subject matter centers on a rural dwelling situated within a traditional English countryside setting. A quaint cottage occupies the central position of the composition, acting as the primary focal point. This structure is framed by the presence of trees and the contours of rolling hills, which establish a sense of enclosure around the…
A heavy, ominous sky hangs low over a vast, arid expanse, pressing down upon a caravan of travelers. The air feels thick with the scent of approaching rain or perhaps just the dry, suffocating dust of the dunes. Every movement seems labored as figures and horses struggle through the shifting sands, their forms silhouetted against a landscape that feels both immense and indifferent. The light filters through bruised, heavy clouds…
by David Cox The Elder, executed in 1842, captures a picturesque view of the River Wye valley in Wales. The work belongs to the Romantic movement of the 19th Century, focusing on the natural landscape. It presents the river, various trees, and the undulating terrain of the Wye valley.
In "Changing Pasture" by David Cox The Elder, we find ourselves looking upon a quiet, rural pastoral view. Painted about 1847, the scene centers on a solitary shepherd who stands amidst the expanse, contemplating his flock. The sheep are scattered across a rolling pasture, their presence grounding the vastness of the landscape. There is a stillness here, a sense of a moment caught between the movements of the clouds and…
Cottage on Dulwich Common, a Windy Day is a landscape painting by David Cox The Elder, executed about 1846. The work captures a quiet moment of everyday rural life, focusing on a domestic setting amidst the natural elements of the English countryside.
The sky hangs heavy with the weight of an impending storm, a swirling mass of dark, bruised clouds that seem to churn across the canvas. Below this turbulent ceiling, a rugged coastline stretches into the distance, its edges softened by a creeping mist that blurs the line between land and sea. The air feels thick, charged with the salt and dampness of a restless ocean. A small group of figures,…
Two figures sit upon the grassy bank, their attention fixed on the slow movement of the water. The river flows past them, a silver ribbon cutting through a landscape of muted greens and earthy browns. Nearby, a herd of cattle grazes in the middle ground, their forms softened by the hazy light of an overcast sky. Above, swallows skim low through the air, tracing invisible paths under an expansive, pale…
Landscape with Man on a Horse is an oil painting created by David Cox The Elder. The work is dated 1849. This small-scale piece focuses its subject matter on rural activity, depicting a rider on horseback alongside a seated figure within a countryside setting.
The Shepherd Return of the Flock emerges from the brush of David Cox The Elder, a painter who captures the quiet pulse of the English countryside. This work, dated about 1850, finds its origins in the life of an artist born on April 29th, 1783, in Deritend, Birmingham. The scene unfolds as a moment of rural movement, where the shepherd and his flock move through a landscape that feels alive…
Moorland Road1851
12
The Church at Betws y Coed, Snowdonia1851
13
The Skirts of the Forest1855 · Birmingham Museum and Art Gallery
14
Landscape with Cattle by a Pool1850 · Fitzwilliam College
15
The Long Gallery, Hardwick Hall, Derbyshire1840 · Birmingham Museums And Art Gallery
16
The Vale of Clwyd1849 · Fitzwilliam College
17
Fishing Boats, Hastings1813 · Birmingham Museums And Art Gallery
18
All Saints' Church, Hastings1812 · Birmingham Museum and Art Gallery
19
Lake Scene, North Wales1811 · Birmingham Museums And Art Gallery
20
Gipsies on Dulwich Common1808 · Birmingham Museums And Art Gallery
21
Landscape with a Man Washing His Feet at a Fountain after Poissin1821 · Yale Center for British Art
22
Hay on Wye1824 · Birmingham Museums And Art Gallery
23
Junction of the Severn and the Wye with Chepstow in the Distance1830 · Yale Center for British Art
24
The Hayfield1833 · Rhode Island School of Design Museum of Art
25
The Great Hall, Haddon1832 · Birmingham Museums And Art Gallery
26
The Farmstead1848 · Birmingham Museums And Art Gallery
27
The Welsh Funeral1848 · Birmingham Museum and Art Gallery
28
Study of a Donkey1843 · Birmingham Museum and Art Gallery
29
Study of Fish, Skate and Cod1842 · Birmingham Museum and Art Gallery
30
Wind, Rain and Sunshine1845
31
Welsh Shepherds1841 · Birmingham Museum and Art Gallery
32
Waiting for the Ferry1845 · Birmingham Museum and Art Gallery
33
Windermere1844 · Birmingham Museum and Art Gallery
34
Calais Pier1844
35
Landscape with Haymakers1848 · Bristol Museum And Art Gallery
36
Cottage Interior, Trossavon near Betws y Coed1847 · Birmingham Museum and Art Gallery
37
Pandy Mill1843 · Laing Art Gallery
38
The Old Mill at Bettws y Coed1847
39
Flying the Kite, a Windy Day1851 · Walker Art Gallery
40
On the Sands1851 · Birmingham Museum and Art Gallery
41
Market Gardeners1851 · Birmingham Museums And Art Gallery
42
Landscape with Man on a Horse1849 · Manchesteri Kunstigalerii
43
Crossing the Moor1851
44
The Shrimpers1853 · Birmingham Museum and Art Gallery
45
Dudley Castle1853
46
Going to the Hayfield1849 · Birmingham Museums And Art Gallery
47
Haymaking near Conway1853
48
Dudley Castle1853 · Manchesteri Kunstigalerii
49
Evening1853 · Birmingham Museums And Art Gallery
50
Haymaking near Conway1853 · Manchesteri Kunstigalerii
51
Girl in a Pinafore1849 · Yale Center for British Art
52
Driving Cattle1849 · Birmingham Museums And Art Gallery
53
Crossing the Ford1849
54
Keep the Left Road1854 · Birmingham Museums And Art Gallery
55
The Skylark1849 · Birmingham Museum and Art Gallery
56
A Mountain Torrent1853
57
Darley Churchyard, Derbyshire1850
58
Moonlight Landscape1849 · Yale Center for British Art
59
The Missing Lamb1853 · Birmingham Museums And Art Gallery
60
Kilgerran Castle, Pembrokeshire1852 · Birmingham Museums And Art Gallery
61
Tending Sheep, Betws y Coed1849 · Birmingham Museum and Art Gallery
62
The Road to the Mill1849
63
Lane near Rowley Regis1852
64
Kilgerran Castle, Pembrokeshire1852 · Birmingham Museum and Art Gallery
65
Going to the Hayfield1852 · Victoria Art Gallery
66
A Breezy Day Going to the Hayfield1852
67
Pont y Pair, Conwy1851 · New Walk Museum - Art Gallery
68
Landscape with a Windmill1852
69
Bolton Abbey1850 · Royal Birmingham Society of Artists
70
Lane near Rowley Regis1852
71
A Welsh Funeral, Bettws Church1852
72
An Old Woman Asleep1859 · Birmingham Museum and Art Gallery
73
A Farm at Betws y Coed1856 · Birmingham Museum and Art Gallery
74
A Road by a Common, Windy Day1859
75
The Wind on the Heath1859 · Yale Center for British Art
76
Carrying Vetches1850 · National Trust
77
On the Lledr1852 · Wolverhampton Art Gallery
78
The GladeAtkinson Art Gallery Collection
79
Fisherman Riding on the Sands
80
Kidwelly Castle
81
Riverside Path
82
The Wayfarers
83
Haymaking on Snowdon1847 · Towneley Hall Art Gallery And Museum
84
Coast Scene near Hastings1812 · Fitzwilliam College
85
The Church, Betws y Coed1856 · Birmingham Museum and Art Gallery
86
Kenilworth Castle1807 · Birmingham Museums And Art Gallery
87
Counting the Flock1852 · Wolverhampton Art Gallery
88
Seascape
89
KenilworthMusée Municipal A.g. Poulain de Vernon
90
Landscape with Cottages
91
Distant View of Raby Castle, DurhamGovernment Art Collection
92
The Gathering of the FlocksManchesteri Kunstigalerii
93
Moorland Landscape Shepherd and SheepAmgueddfa Cymru
94
Menlough Castle, Galway, Ireland
95
Bettys y Coed
96
The Old Mill
97
LandscapeSheffield City Art Galleries
98
Greenfield House, HarorneBirmingham Museums And Art Gallery
99
Crossing the Heath
100
Fortress on a Rockmr Straw's House
Neli teemat, mis esinevad neis originaalkindel kõige sagedamini, ning iga teema parim näide.
Kümne 8 muuseumi kollektsioonid, mis sisaldavad kõige rohkem sellel lehel esitatud teoseid.
| Muuseumid | Linn | David Cox Vanem teosid | Selle nimekirja maalid |
|---|---|---|---|
 Birmingham Museum and Art Gallery |
Birmingham | 20 | Crossing the Sands, Changing Pasture, The Peat Gatherers |
 Birmingham Museums And Art Gallery |
Birmingham | 16 | The Long Gallery, Hardwick Hall, Derbyshire, Fishing Boats, Hastings, Lake Scene, North Wales |
 Yale Center for British Art |
New Haven | 6 | Cottage in Herefordshire, Landscape with a Man Washing His Feet at a Fountain after Poissin, Junction of the Severn and the Wye with Chepstow in the Distance |
 Manchesteri Kunstigalerii |
Manchester | 4 | Landscape with Man on a Horse, Dudley Castle, Haymaking near Conway |
 Wolverhampton Art Gallery |
Wolverhampton | 4 | Cottage on Dulwich Common, a Windy Day, On the Lledr, Counting the Flock |
 Fitzwilliam College |
Cambridge | 3 | Landscape with Cattle by a Pool, The Vale of Clwyd, Coast Scene near Hastings |
 Amgueddfa Cymru |
Cardiff | 2 | Moorland Landscape Shepherd and Sheep |
 The Ashmolean Museum of Art And Archaeology |
Oxford | 1 | The Garden Terrace at Haddon Hall |
Vali vuosakülg, et näha selle ajastu definieerivat originaalteost.
Cottage in Herefordshire by David Cox The Elder is a detailed pencil drawing created about 1820. The subject matter centers on a rural dwelling situated within a traditional English countryside setting. A quaint cottage occupies the central position of the composition, acting as the primary focal point. This structure is framed by the presence of trees and the contours of rolling hills, which establish a sense of enclosure around the…
A stone staircase anchors the scene, its ornate railings climbing toward a massive tree that dominates the right side of the frame. Lush greenery spills over the steps, interrupted only by small bursts of red flowers at the base. Two figures move near the bottom, their forms softened by the light, appearing as mere shadows within the garden's depth. The sky above is a heavy, overcast veil, casting a soft,…
The sky hangs heavy with the weight of an impending storm, a swirling mass of dark, bruised clouds that seem to churn across the canvas. Below this turbulent ceiling, a rugged coastline stretches into the distance, its edges softened by a creeping mist that blurs the line between land and sea. The air feels thick, charged with the salt and dampness of a restless ocean. A small group of figures,…
The Garden Terrace at Haddon Hall (1849), The Ashmolean Museum of Art And Archaeology, Oxford. Järgnevad Cottage in Herefordshire (1820) ja Crossing the Sands (1848).
66 aastat vanus: teos The Garden Terrace at Haddon Hall on pärinev aastast 1849 ning David Cox Vanem sündis aastal 1783.
The Garden Terrace at Haddon Hall, Cottage in Herefordshire, Crossing the Sands, The Wyndcliffe, River Wye, Changing Pasture, Cottage on Dulwich Common, a Windy Day, The Peat Gatherers, Boys Fishing, Landscape with Man on a Horse ja The Shepherd Return of the Flock. Ülemine reiting näitab iga teose puhul aastat ja muuseumi.
Meie kataloogist leiate 148 teost kunstnikult David Cox Vanem, mis on pärinevad ajastust 1807 kuni 1859.
Peamiselt Birmingham Museum and Art Gallery (Birmingham), Birmingham Museums And Art Gallery (Birmingham) ja Yale Center for British Art (New Haven) muuseumites. Ülalpool olevate muuseumite tabelis on nendest kõik loetletud.
Ajal 1850s: 38 100 sellel lehel olevat teost on sellel perioodil loodud, მათart közül The Peat Gatherers.
Sellel lehel on kõige vanem teos Kenilworth Castle (1807) ja kõige värskeim An Old Woman Asleep (1859).
Landscape (11), British countryside (11) ja Atmospheric (6), kogu selle lehekülje 100 teose kohta.
Oil On Canvas, 14 teoseks 100 töödelt sellel lehel.
Romanticism, seda lähtudes selle lehe originaalteostest.
Crossing the Sands, Changing Pasture ja The Peat Gatherers: Birmingham Museum and Art Gallery, Birmingham säilitab 20 selle lehel olevat teost.
David Cox, kes sündis 29. aprillil 1783 Birminghami tööstuskeskus Deritendis, tõusis lihtsadest oludest, mis kujundas sügavalt tema kunstilist visiooni. Tema isa, mustr ja valgetöömeister, sisaldas temasse tööetiikat, mis teenis teda kogu elu jooksul, kuigi noore Davidi habras keht ei sobinud vurstil. Alguses oli ta õpilane ehtete valmistajale – trüfikitide, miniatuurportreethi karke kastekastide peal ja lakseeritud nööbitükkide loojale –, kuid ta demonstreeris kiiresti vastutust maaliametile, talentile, mida kasvatas tema "ülemusliku intellektiga" ja vaikse vastutustundiga ema. See varajane kokkupuude peenetele detailidele leidis hiljem väljendust tema meistritu akvareltöödes.
Birmingham ise oli tu damal kunstiliseks tegevuseks, pakkudes eraakadeemiaid, mis vastasid kasvava tootluse vajadustele, kuid edasasi arendas ka eripärset maaparidust. Cox õppis esmalt Joseph Barberilt ja hiljem Albert Fielderilt, kuigi tema õpilaskolu lõppes äkiliselt Fielderi traagilise surma tõttu. Lühike periood dekoratsioonimaalajana William Macready teatri jaoks pakkus väärtuslikku kogemust atmosfäärilisest perspektiivist ja kompositsioonist – oskustest, mida ta hiljem loomaruumi kujutamisel täiustas.
1804. aastal suunas Cox end professionaalsete võimaluste otsimisel Londoni. Kuigi algne töö Philip Astley amfiteatris ei tulnud kätte, märkis see periood murdepunkt. Ta pühendas end akvarelimaalile, näitas oma töid ja kogus aegla Held vastutust. Tema abielu Mary Raggiga 1eks 1805. aastal stabiliseeris tema elu veelgi enam ning paar asustas Dulwichis. Samal aastal järgnes esimene mitmest Walesi reisidest, koos Charles Barberiga, mis pakkus talle materjali üha keerukamate ja pidusammatumate maastikude loomiseks.
Vesivärvide Seltsie (Water-Colour Society) asutamine 1805. aastal oli võtmetähtsusega sündmus. Kuigi Cox ei saadunud kohe liikmeks, panustas ta sügavalt selle tegevusse ja liitus lõpuks seltsiga 1813. aastal. See ühendus pakkus platvormi tema töö esitamiseks ja võimalusi ühenduda teiste kunstnikega, kinnistades tema positsiooni kasvavas Briti kunstimaastikul.
Coxi kunstiline areng oli iseloomulik oma pühendumusele Briti maastiku olemuse tabamisele. Ta vältis suuri ajaloolisi narratiive või klassikalisi alegoriood, keskendudes selle asemel maapiirkondade ilule – mooridele, metsadele, jõeläärte randadele ja rannikohtadele. Tema varajased akvaredid on märkimist väärt need peenelt täpselt ja hoolikalt detailidega, mis peegeldavad looduse tähelepanelikku jälgimist. Kuid peagi liikus ta kaugemale kui pelgalt topograafiline esitus, andes oma teostele emotiivse kvaliteedi, mis kõlastas kuulajate südames.
Ta sai kuulsaks oma võime üle transmitir atmosfääri – valgus- ja varjundimängu, ilmakehja peenusi nüansse ja tunnet, nagu oleks inimene loomaruumi sisse sisse sulandunud. Tema tehnika sisaldas ainulaadset kooslust hoolikalt planeeritud ja spontaanse täitmisega, töötades sageli kiiresti *en plein air*, et tabada ilu haavatavaid hetki. Elu lõppupoolil pöörduis ta üha enam õlimaali poole, luues üle 300 lapet, mida tänapäeval peetakse tema suurimaks saavutuseks – kuigi eluajal olid need vähem hinnatud.
David Coxi mõjul Briti kunstil on sügav. Ta on Birminghami kooli võtmefiguur, sild leituna topograafilise maapariduse ja romantilismie emotiivsema lähenemise vahel. Tema töö ennustas impressionismi, rõhutades valguse ja atmosfääri haavatavate hetkide tabamist, kuigi ta jäi kindlalt juurdunud inglise vesivärvimaali traditsioonidesse.
Vaatamata perioodidele, mil ta silmisi möödus finantsitrikud ja võimelik anonimite, püsib David Coxi pärand elus. Ta surmas 7. juunil 1859, jättes järele teosekogumi, mis jätkub publikut võlustama oma ilu, tundlikkuse ja sügava seosusega loodusega. Tema maalid pakuvad ajatut vaadet Inglismaa maapiirkondade südamesse, meelestades meid kunsti igavale jõule tekitada emotsioone ja tähistada elu lihtsaid rõõmud.
