Uuendatud november 2026 · järjestatud meie populaarsusindeksi järgi (otsingud, külastused ja tellimused igale teosele) · 244 teost George Frederic Watts meie kataloogis
Lühidalt
Loodatus (1886) on George Frederic Watts maalide kõige silmapaistvam teos; originaal kuulub museumi Tate Britain, London. Pärast seda suunatakse pilk Ellen Terry (1864) ja The Minotaur (1885) suunas. Meie kataloogis olevatest George Frederic Watts 244 teosest on need 100 kõige kuulsumat, millist igaüks on esitatud koos aasta, muuseumi ja põhjusega, miks teos on püsiv.
A Silent Plea: Unpacking the Profound Beauty of George Frederic Watts’ “Hope” George Frederic Watts' "Hope," painted in 1886, isn’t merely a portrait; it’s an embodiment of resilience, a visual meditation on the enduring spirit within the face of adversity. Completed in two distinct versions – one residing in a private collection and the other gracing the walls of Tate Britain – this oil painting transcends its subject matter to…
The seventeen-year-old Ellen Terry sits in profile, her gaze fixed upon a quiet internal struggle. In one hand, she holds violets, their scent subtle and sweet; in the other, camellias, which offer a lush appearance but lack fragrance. This tension between the fragrant and the merely beautiful reflects a deeper meditation on virtue. The composition is tightly cropped, focusing on her face, neck, and clasped hands against a dark, heavy…
In the hauntingly beautiful oil on canvas titled The Minotaur, George Frederic Watts invites us into a world where ancient legend bleeds into Victorian reality. Painted in 1885, this masterpiece transcends a mere retelling of Greek mythology; it is a profound psychological study captured through the lens of Symbolism. The subject, the monstrous creature with the body of a man and the head of a bull, does not appear as…
The air feels heavy with the weight of an impending storm as we gaze upon this monumental scene. A group of figures moves through a turbulent landscape, their bodies etched with a sense of solemn purpose. They walk toward the edge of a vast body of water, their postures caught in a delicate balance between apprehension and a quiet, stubborn determination. Behind them, the rugged peaks of Dartmoor rise like…
After the Deluge is a Symbolist oil painting by George Frederic Watts. The work depicts a scene from the story of Noah's Flood, specifically the moment when Noah opens the window of the Ark to see that the rain has stopped, though the floodwaters have not yet subsided. The composition is a stylized seascape dominated by a bright sunburst that breaks through the clouds, with light projecting beyond the edges…
The Weight of Thought Portrait of (William) Edward Hartpole Lecky In this monochrome study, we find ourselves in the presence of a man deeply immersed in the quiet labor of the mind. The subject, an Irish historian and political theorist, is rendered with a somber dignity that suggests a life spent navigating the complexities of the eighteenth century. He is positioned slightly off-center, his gaze directed toward the right of…
A mountain of white hair and beard dominates the frame. It is a landscape of frost against the deep, dark shadows of the background. The subject, Theophilos Kairis, sits in a quiet, centered stillness. His skin is a map of fine lines and weathered textures, etched by years of thought and struggle. Light falls from the upper left, catching the ridge of a forehead and the deep-set hollows of the…
Sir Charles Wentworth Dilke, 2nd Bt, is the subject of this 1873 oil portrait by George Frederic Watts. The sitter was a prominent English Liberal and reformist politician. He was also the husband of the feminist art historian Emilia Dilke.
A muscular young man grips a long wooden staff, his gaze fixed upon the viewer with an intensity that feels like a physical weight. He is draped in reddish-orange fabric that catches a harsh, theatrical light. Beside him, a woman is shrouded in heavy, white classical drapery, her eyes cast downward in a gesture of resignation or mourning. Above them, the sky is a turbulent mass of clouds, from which…
A young girl turns her head in a soft profile, her gaze directed away from the viewer toward an unseen horizon. She is framed by the deep, dark textures of holly leaves, their sharp edges softened by a painterly touch. Her hair, a cascade of strawberry-blonde waves, catches a gentle light that traces the curve of her cheek and the delicate line of her neck. A dark, beaded necklace rests…
Portrait of Sir Edward Burne-Jones (1833-1898 )1869 · Birmingham Museum and Art Gallery
12
George Douglas Campbell, 8th Duke of Argyll1860 · National Portrait Gallery
13
Robert Browning1866 · National Portrait Gallery
14
John Singleton Copley, Baron Lyndhurst1862 · National Portrait Gallery
15
Sir Anthony Panizzi1847 · National Portrait Gallery
16
Robert Lowe, 1st Viscount Sherbrooke1874 · National Portrait Gallery
17
Stopford Augustus Brooke1871 · National Portrait Gallery
18
William Ewart Gladstone1859 · National Portrait Gallery
19
Edmund Lyons, 1st Baron Lyons1856 · National Portrait Gallery
20
Caroline Muriel Callander, later Mrs Baird (c 1861 - 1932)1862 · Scottish National Gallery
21
A Lamplight Study: Herr Joachim1868 · Art Institute of Chicago
22
Sir Henry Taylor1868 · National Portrait Gallery
23
Josephine Elizabeth Butler (née Grey)1895 · National Portrait Gallery
24
Cecil John Rhodes1898 · National Portrait Gallery
25
John William Spencer Brownlow Egerton-Cust, 2nd Earl Brownlow (1842-1867)1865 · Belton House
26
Anthony Ashley-Cooper, 7th Earl of Shaftesbury1862 · National Portrait Gallery
27
John Laird Mair Lawrence, 1st Baron Lawrence1862 · National Portrait Gallery
28
Francis Napier, 10th Baron Napier and 1st Baron Ettrick, 1819 - 1898. Diplomat and Governor of Madras1866 · Šoti Rahvusportreegalerii
29
George Frederick Samuel Robinson, 1st Marquess of Ripon and 3rd Earl de Grey1895 · National Portrait Gallery
30
Edward Robert Bulwer-Lytton, 1st Earl of Lytton1884 · National Portrait Gallery
31
George Frederic Watts1860 · National Portrait Gallery
32
Mischief1878 · Scottish National Gallery
33
Dante Gabriel Rossetti1871 · National Portrait Gallery
34
Julia Margaret Cameron1850 · National Portrait Gallery
35
Frederick Temple Hamilton-Temple-Blackwood, 1st Marquess of Dufferin and Ava1881 · National Portrait Gallery
36
Portrait of a Man1881 · Harvard Art Museums
37
A Roman Lady1891 · Birmingham Museum and Art Gallery
38
Little Red Riding Hood1890 · Birmingham Museum and Art Gallery
39
Study Of Gennaro, A Venetian Nobleman1865 · Birmingham Museum and Art Gallery
40
Alfred, Lord Tennyson1863 · National Portrait Gallery
41
Aspiration1866 · Birmingham Museum and Art Gallery
42
Samuel Augustus Barnett1887 · National Portrait Gallery
43
Henry Hart Milman1863 · National Portrait Gallery
44
Ruth and Boaz1836
45
Miss Mary Kirkpatrick Brunton1841
46
Nymphs and Satyrs1840
47
The Golden Age1840
48
A Story from Boccaccio1845
49
Robert Gascoyne-Cecil, 3rd Marquess of Salisbury1882 · National Portrait Gallery
50
Portrait of Mrs Caroline Norton (née Sheridan), (1808-1877), Poet1850 · National Gallery of Ireland
51
Edith Villiers, later Countess of Lytton who was Vicereine of India1862
52
Portrait of a Young Man1870 · Kanada Rahvusgalerii
53
Sir Richard Charles Francis Christian Meade, 3rd Earl of Clanwilliam (1795-1879)1870 · Uppark
54!['Watchman, What of the Night?' (Dame Ellen Terry [1847-1928] and previously called Joan of Arc by Watts) (1867) autor George Frederic Watts](/media/artworks/images-thumb/32/96/3296287db67f0cb42a556aa5ac4f2031.jpg)
'Watchman, What of the Night?' (Dame Ellen Terry [1847-1928] and previously called Joan of Arc by Watts)1867
55
Henry Wyndham, 2nd Baron Leconfield (1830-1901)1867 · Petworth House
56
Adelbert Wellington Brownlow Cust, 3rd Earl Brownlow, GCVO, PC, MP (1844-1921)1868 · Belton House
57
Admiral Henry John Chetwynd, 1803-68, 18th Earl of Shrewsbury1865 · Rahvuslik Mereväemuuseum
58
Algernon Charles Swinburne1867 · National Portrait Gallery
59
Study of a Lady leaning on a Chair1872
60
Sir William George Armstrong, 1st Baron Armstrong of Cragside (1810-1900)1878 · Cragside
61
Orpheus And Eurydice1872
62
Laura Gurney (later Lady Troubridge)1880 · Watts Gallery – Artists' Village
63
Time, Death, and Judgement1884 · Kanada Rahvusgalerii
64
Love and Death1885
65
Love and Life1884
66
Self Portrait1882
67
Study of 'Idle Child of Fancy'1885
68
John William Spencer Brownlow Egerton-Cust, 2nd Earl Brownlow (1842-1867)1886 · Belton House
69
Frederick Sleigh Roberts, 1st Earl Roberts1898 · National Portrait Gallery
70
Hope1891 · Yale Center for British Art
71
Ganymede1888
72
Friedrich Max-Müller1894 · National Portrait Gallery
73
Escaped1895 · Harvard Art Museums
74
Alice1883 · Art Gallery of New South Wales
75
Time Death and Judgement1900
76
George Frederic Watts1879 · National Portrait Gallery
77
Sir Leslie Stephen1878 · National Portrait Gallery
78
George Meredith1893 · National Portrait Gallery
79
The All-Pervading1887 · Tate Britain
80
John Passmore Edwards1894 · National Portrait Gallery
81
The Happy Warrior1884 · Bavaria riiklikud maalidema kogumikud
82
Sir (William Matthew) Flinders Petrie1900 · National Portrait Gallery
83
William Morris1870 · National Portrait Gallery
84
Stratford Canning, Viscount Stratford de Redcliffe1856 · National Portrait Gallery
85
Sir Andrew Clark, 1st Bt1893 · National Portrait Gallery
86
John Russell, 1st Earl Russell1851 · National Portrait Gallery
87
Charles Booth1901 · National Portrait Gallery
88
Love and Death1901 · Art Gallery of South Australia
89
Jonah1894 · Tate Britain
90
Walter Crane1891 · National Portrait Gallery
91
Hope1886 · Tate Gallery
92
Britomart1877 · Birmingham Museum and Art Gallery
93
The Three Graces
94
Orpheus and Eurydice 1
95
Miss Georgina Treherne
96
Endymion1872
97
Frederic Leighton, Baron Leighton1881 · National Portrait Gallery
98
Artemis and HyperionArt Gallery of New South Wales
99
Panoramic Landscape with a Farmhouse1845 · National Gallery
100
Sir John Peter GrantNational Portrait Gallery
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 | George Frederic Watts teosid | Selle nimekirja maalid |
|---|---|---|---|
 National Portrait Gallery |
London | 47 | Ellen Terry, (William) Edward Hartpole Lecky, Sir Charles Wentworth Dilke, 2nd Bt |
 Birmingham Museum and Art Gallery |
Birmingham | 6 | Portrait of Sir Edward Burne-Jones (1833-1898 ), A Roman Lady, Little Red Riding Hood |
 Tate Britain |
London | 8 | Loodatus, Chaos, The All-Pervading |
 Harvard Art Museums |
Cambridge | 7 | Virginia Dalrymple (1850-1922), Portrait of a Man, Escaped |
 Scottish National Gallery |
Edinburgh | 3 | Theophilos Kairis (1784 - 1853), Caroline Muriel Callander, later Mrs Baird (c 1861 - 1932), Mischief |
 Belton House |
Grantham | 3 | John William Spencer Brownlow Egerton-Cust, 2nd Earl Brownlow (1842-1867), Adelbert Wellington Brownlow Cust, 3rd Earl Brownlow, GCVO, PC, MP (1844-1921), John William Spencer Brownlow Egerton-Cust, 2nd Earl Brownlow (1842-1867) |
 Watts Gallery – Artists' Village |
Guildford | 3 | After the Deluge, Laura Gurney (later Lady Troubridge) |
 Art Institute of Chicago |
Chicago | 2 | Time, Death and Judgment, A Lamplight Study: Herr Joachim |
Vali vuosakülg, et näha selle ajastu definieerivat originaalteost.
The composition centers on a woman positioned in the foreground, surrounded by several male figures within a field of grain. The scene depicts a pastoral harvest under diffused, natural sunlight. The woman is flanked by men engaged in the act of gleaning or harvesting. Vertical lines are established by the standing men and the stalks of wheat. The color palette is dominated by warm ochres, golds, creams, and deep blues.…
A mountain of white hair and beard dominates the frame. It is a landscape of frost against the deep, dark shadows of the background. The subject, Theophilos Kairis, sits in a quiet, centered stillness. His skin is a map of fine lines and weathered textures, etched by years of thought and struggle. Light falls from the upper left, catching the ridge of a forehead and the deep-set hollows of the…
The air in the room feels heavy, thick with the weight of a life lived in the public eye. An elderly man sits before us, his presence commanding a quiet, somber authority that seems to pull the shadows closer. This is William Ewart Gladstone, captured in a moment of profound introspection. He does not look away; instead, his gaze meets the observer directly, piercing through the veil of years with…
The seventeen-year-old Ellen Terry sits in profile, her gaze fixed upon a quiet internal struggle. In one hand, she holds violets, their scent subtle and sweet; in the other, camellias, which offer a lush appearance but lack fragrance. This tension between the fragrant and the merely beautiful reflects a deeper meditation on virtue. The composition is tightly cropped, focusing on her face, neck, and clasped hands against a dark, heavy…
The air feels heavy with the weight of an impending storm as we gaze upon this monumental scene. A group of figures moves through a turbulent landscape, their bodies etched with a sense of solemn purpose. They walk toward the edge of a vast body of water, their postures caught in a delicate balance between apprehension and a quiet, stubborn determination. Behind them, the rugged peaks of Dartmoor rise like…
A Silent Plea: Unpacking the Profound Beauty of George Frederic Watts’ “Hope” George Frederic Watts' "Hope," painted in 1886, isn’t merely a portrait; it’s an embodiment of resilience, a visual meditation on the enduring spirit within the face of adversity. Completed in two distinct versions – one residing in a private collection and the other gracing the walls of Tate Britain – this oil painting transcends its subject matter to…
After the Deluge is a Symbolist oil painting by George Frederic Watts. The work depicts a scene from the story of Noah's Flood, specifically the moment when Noah opens the window of the Ark to see that the rain has stopped, though the floodwaters have not yet subsided. The composition is a stylized seascape dominated by a bright sunburst that breaks through the clouds, with light projecting beyond the edges…
In this 1866 oil on canvas, we find ourselves standing before a scene of profound gravity. The composition is anchored by two figures who seem caught in a moment of eternal transition. On the left, a muscular man grips a tall wooden staff, his gaze fixed forward with a look that balances resolution against a deep, quiet melancholy. Beside him, a woman is draped in heavy, white classical fabric; her…
Loodatus (1886), Tate Britain, London. Järgnevad Ellen Terry (1864) ja The Minotaur (1885).
69 aastat vanus: teos Loodatus on pärinev aastast 1886 ning George Frederic Watts sündis aastal 1817.
Loodatus, Ellen Terry, The Minotaur, Chaos, After the Deluge, (William) Edward Hartpole Lecky, Theophilos Kairis (1784 - 1853), Sir Charles Wentworth Dilke, 2nd Bt, Time, Death and Judgment ja Virginia Dalrymple (1850-1922). Ülemine reiting näitab iga teose puhul aastat ja muuseumi.
Meie kataloogist leiate 244 teost kunstnikult George Frederic Watts, mis on pärinevad ajastust 1836 kuni 1901.
Peamiselt National Portrait Gallery (London), Birmingham Museum and Art Gallery (Birmingham) ja Tate Britain (London) muuseumites. Ülalpool olevate muuseumite tabelis on nendest kõik loetletud.
Ajal 1860s: 25 100 sellel lehel olevat teost on sellel perioodil loodud, მათart közül Ellen Terry.
Sellel lehel on kõige vanem teos Ruth and Boaz (1836) ja kõige värskeim Charles Booth (1901).
Man (63), Portrait (40) ja Beard (29), kogu selle lehekülje 100 teose kohta.
Oil On Canvas, 84 teoseks 100 töödelt sellel lehel.
Symbolistlik liikumine, seda lähtudes selle lehe originaalteostest.
Ellen Terry, (William) Edward Hartpole Lecky ja Sir Charles Wentworth Dilke, 2nd Bt: National Portrait Gallery, London säilitab 42 selle lehel olevat teost.
George Frederic Watts sündis 23. veebruaril 1817 Londoni Marylebones. Tema varajased aastad olid määratletud tema isa, klaverimeistri, vaikliku töökuse ja ema surma järel koitnud raska vaatuse all, mis jäi tema nooresteaegale varju. See varane kaotus jäi tema iseloomule püsivaks märkiks, andes कदा võib ka pananduse tema hilisemale loomingulisele sügavusele, mis iseloomustas tema kunstilist väljundit. Vaatamata tema tervise habrasele seisundile need kujundavate aastate jooksul, hakkas tema õppimise kaudu esile muncula kindel käsi ja terav silm vormide eristamiseks.
Poisi talent leidis oma esimese tõelise suuna juba kümneastaseni, mil ta alustas skulptuuri õppimist William Behnesi juhendisel. See varane süvenemine kolmelelemendilisse vormi võimaldas tal mõista figuuride massi ja olekut juba kaua enne, kui ta suunas kogu oma tähelepanu linatele. Kui ta jõudus kaheksateistküna vanuse, olid tema ambitsioonid kasvanud kaugemale eraõppest. Aastal 1835 registreerus ta Royal Academy Schools üliõpilikuna, püüdes täiendada instinkte, mida oli hoidud alles tema külgkellast saati.
Ambitsioon ja ootamatu õnn kohtusid 1843. aastal, hakates noort kunstnikku tõmbama suuremate lavade poole. See aasta tõi endaga konkursi, kus ta esitas projekti uute Parlamenti hooneid pildistamiseks, mis tõi talle esimese auhinna. See edu avas uusi uksid, viies ta eemale Londoni tuttavast tänavate maailmast ja suunas tema Itaalia soojustesse. Tema rötendused Itaalias aastatel 1843–1847 olid periood, mis kujendas tema kunstilist visiooni täielikult ümber. Need Itaalia maad pakkusid talle nii sotsiaalseid kontakte kui ka intellektuaalset toitu, olles tema kujundavate reiside ajal Briti suurlendaja Henry Foxi toetuseks.
Varajastest eduastest saadud impulss viis ta lõpuks tagasi oma kodumaa teenistusse. Talle usaldati märkimisväärne tellimus luua fresko Parlamenti hooneid, ülesanne, mis pidas tema käsi ja meelt okupeerituna aastate 1848 ja 1853 vahel. See töö nõudis laia mõõdukohtu valdust ja sügavat aruannust sellest, kuidas kunst võib inhabeerida valitsuse monumentaalske ruume. Läbi nende avalikud kohustuste ja Euroopa südamepunktis veedetud rändete liikus tema kunst lihtsast esitlusest eemale, suunudes suuremate ja allegoriliste teemade poole, mis määrkas tema hilisema elu ja loomingulise pärandi.
Tema ambitsioonid ulatusid sageli inimolu suuremate mõõtmahikute juurde, püüdes läbi oma kunsti kaardistada mismõimalikult hingel.
Ta lois ambitsioosliku projekti nimega "Elu maja" – freskondide tsükli, mille eesmärk oli illustreerida inimkonna vaimulikku arengut ja päritolu. Kuigi puuduliku toetuse tõttu jäi see tsükkel täielikult lõppimata, jäid tema pintseli alla jäävaks tema teemad armastusest ja elust, koanides tema loovuslikus maailmas. aastal 1864 pöördugi ta tähelepanu elavate inimeste poole, püüdes oma portreemaliga tabada näitlejanna Ellen Terry olemust ja tema vaimulist tuppest.
Inimesu kogemuse raskus ilmus tihti tema allegorilistes kompositsioonides. aastal 1875 loodis ta teose Chaos, mis uuris inimliku ja looduse vahelist interaktsiooni läbi filosoofilise mõttele.
See sümbolistlik suundumus saavutas oma sügava tipu aastal 1886, mil valmis Hope. See maal, millest on olemas kaks versiooni, esitab vaikse ja kindla otsevõimsa figüüri tumedat, siniseni maastikut.
Põhjalik olemus on siin rohkem kui lihtsalt optimismi väljendamine; teos kirjeldab haavatavust ja kertaetõelist valguse otsingut keskmeses pimeduses.
Tema käsi liikus rahutul ambitsiooniga, püüdes tabada nähtmatut õli ja lenda linate vahendusel. Edasini kesti tema viljakas loovus, mille käigus teostati umbes 800 lerrat, kus iga üks oli samm pikemas ja arenevas otsingus visuaalse keele leidmiseks, mis suudaks kandma inimkogemuse raskust. Ta ei leinunud pelgasse elu imiteerimises; selle asemel püüdis ta tõlkida sisevahebluse ja hingevõitluse vormiks ja värviks. See impulss viis ta orgaanilise liikumisega läbi sümbolismist lähtuva stiili struktureeritud allegoriadast poole, suunudes ta teed parema, minimalistlikuma ja kaasaegsema abstraktsiooni poole. Tema tööd on sageli kahe maailma vahel liidetud, ühendades romantika sümbolismi ja viktorianaegase esteetika ning häärmas modernismi uuenenud tundlikkuse.
Tema elulähedistes aastades hakkas tema motööde selgus jääma sügavama ja olemuslikuama vaatamisviisi alla. Ta tõmmatleti kosmoseks sümboosiks, kasutades korduvaid mõtteid ja allegorilisi esitusi, et uurida inimliku tugevuse ja lolluse sügavusi. Ta eelistas sageli kujutada oma teemade inimesi silmad kinni, valik, mis paljastas tema varajase huvi al unconscious ehk alateadlikule meelele. See tehnika võimaldas tal liikuda kaugemale inimese näo konkreetsetest detailidest, püüdes saavutada midagi universaalsemat. Tema pintlajäljed ja värvide kasutamine ei olnud mõeldud oma ajastu ühekordsete moodide järgimiseks, vaid pigem individuaalse psühhike ja igavõimsete tõdede uurimiseks, mis peidusid nähtava maailma pinna all.
Tema visiooni mõju jäi elama pikaks ajaks pärast tema surma, pälestades aastal 1902 auhastuseks Merit Orderi. See tunnustus peegeldas elu, mis oli pikturaalselt ja kivist veedetud inimlikkuse sügavate tõdede otsimisele. Tema vaimne kohalolu on tjunnetav siin ja seal suuremates institutsioonides, kus tema lamedad pinda on jätkunud vaikse mõttele kutsumiseks. Londonis hoiab Tate Britain mitmeid tema olulisi teoseid, säilitades tema allegoriliste uuringute sügavust neile, kes liiguvad sealgi galeriides.
Need, kes soovivad mõista tema loomingulise tööd ulatust, võivad suunata pilgu Guildfordi Watts Gallery – Artists' Village museumi, mis pakub tema mälestuste pühapaika. See asukoht on pühendatud tema elu jooksul loodud kunstivaramu säilitamisele ning seal asub tema maalide, jooniste ja skulptuuride suurim kollektsioon. See on koht, kus tema ajastu atmosfäär on endiselt kättesaav, võimaldades vaatajal kohtuda tema ambitsioonide suuremusega keskkonnas, mis on sügavalt seotud tema oma vaimuga.
