Uuendatud november 2026 · järjestatud meie populaarsusindeksi järgi (otsingud, külastused ja tellimused igale teosele) · 73 teost Richard Ansdell meie kataloogis
Lühidalt
Kõigist Richard Ansdell jäetud originaalteostest on kõige kuulsam The Game Bag (1853). Järgnevad sellest Studies for the Portraits of Lord Eglinton, Lord Douglas and Lord Stradbroke in `The Waterloo Cup Coursing Meeting' (in the Walker Art Gallery), 1840 (1841) ja Mr. and Mrs. John Naylor with a Keeper and a Dead Stag (1847). Meie kataloogist löytyb 73 teost kunstnikult Richard Ansdell; galeriist on säilitatud 72 maailmas kõige imetlustunud teost, millest iga on esitatud koos kuupäeva, museumi ja oma luguga.
In this work from about 1853, Richard Ansdell presents a quiet, still life centered on the spoils of a successful hunt. The composition focuses on a hunter's game bag, which is filled with various birds. One can observe the specific forms of pheasants, ducks, and geese resting together, their bodies arranged to suggest the immediate aftermath of a pursuit. The arrangement emphasizes the abundance of the catch, capturing a moment…
The artwork titled Studies for the Portraits of Lord Eglinton, Lord Douglas and Lord Stradbroke in `The Waterloo Cup Coursing Meeting' (in the Walker Art Gallery), 1840 is a series of three portrait studies by the artist Richard Ansdell. Created about 1841, these studies focus on the likenesses of three specific gentlemen. The subjects are identified by inscriptions as Lord Douglas, Lord Stradbroke, and Lord Eglinton.
In this large-scale oil painting, titled Mr. and Mrs. John Naylor with a Keeper and a Dead Stag, Richard Ansdell captures a moment of quiet aftermath amidst a rugged, mountainous landscape. The scene unfolds around a central group of figures positioned atop a rocky outcrop. Here, the pursuit of sport meets the stillness of nature. A fallen stag lies in the foreground, its presence anchoring the scene alongside horses and…
Highland Shepherd by Richard Ansdell presents a serene and expansive landscape within the Highlands. Created about 1864, the work captures a quiet companionship between humans, animals, and the natural environment. The scene focuses on the rhythms of rural life, specifically the fundamental relationship between shepherds and their flock.
In Goatherds, Gibraltar Looking Across The Strait Into Africa, the artist Richard Ansdell captures a moment of stillness upon a rugged hillside. Painted about 1871, the scene centers on a young woman seated atop a donkey. She rests amidst a slow-moving flock of goats and sheep that navigate the uneven, rocky terrain. The landscape is heavy with the weight of stone and the quiet rhythm of pastoral life.
In this 1866 oil painting on canvas, Richard Ansdell presents a quiet, rugged scene set within a snowy mountain landscape. The work, titled The Lost Sheep, focuses on a man in traditional attire—likely a shepherd—navigating the wilderness alongside three dogs. These animals appear as companions in a landscape defined by its harshness and solitude. The figure stands amidst rocks and snow, creating a narrative of survival and the quiet dignity…
Richard Ansdell, a prominent British painter of animals and genre scenes, rendered The Highlander Lassie about 1877. The work centers on the connection between humans and animals, presenting a young woman interacting with several dogs. They are positioned on a rocky shoreline that overlooks a lake, a setting that emphasizes pastoral beauty and serenity.
In The Lucky Dogs, Richard Ansdell brings a quiet, lived-in moment to life. Created about 1881, the scene centers on a man who appears to be a shepherd or a dog trainer, deeply embedded in his daily life. He sits at the heart of the gathering, surrounded by a lively group of dogs of various sizes and breeds. These animals press in close, their presence filling the space around him…
The Highland Bothy emerges from the canvas as a quiet moment captured in 1883. This oil on canvas work by Richard Ansdell brings the rugged spirit of the Scottish Highlands into view, presenting a scene where life moves at the pace of the landscape. The painting measures 107 x 83 cm, a scale that allows the viewer to feel the intimacy of the rustic setting. Within this frame, the artist…
The Caledonian Coursing Meeting near the Castle of Ardrossan, the Isle of Arran in the Distance1844 · Yale Center for British Art
12
Grey Horse Led by a Scotsman1845
13
Figure in Glen Lyon1842
14
Head of a Stag (profile to left)1841
15
The Drover's Halt1846 · Atkinson Art Gallery Collection
16
Meggernie, Glen Lyon, Haymaking1841
17
Head of a Stag (Full Face)1841
18
The Hare1845
19
Head of a Stag (profile to right)1841
20
A Mastiff1841
21
Figure Group in Glen Lyon1842
22
Head of a Stag (three quarter profile)1841
23
The Fight for the Standard1847
24
Lytham Sandhills1853
25
Waiting Patiently1855
26
The English Gamekeeper1855
27
Dog and a Dead Partridge1850 · Touchstones Rochdale Arts And Heritage Centre
28
Hawking1863
29
A Spanish Shepherd1863
30
Ewe with Lambs1859
31
Ferreting1863 · Towneley Hall Art Gallery And Museum
32
Isle of Sky1856
33
A Chestnut Hunter in a Landscape1857
34
A Ewe with Lambs and a Heron Beside a Loch1867
35
Rounding up the Flocks1868
36
In the Highlands1865
37
Dog and Mallard Waiting for Good Bag1865
38
Lytham Sand Hills1864
39
Feeding Goats in the Alhambra1871
40
An English Setter Retrieving Partridge1864
41
Grey Ptarmigan1867
42
The Herd Lassie1874
43
Highland Cattle1872
44
The Favoured Calf1877
45
Rover and Ruby1882
46
Dog with a Wild DuckGuildhall Art Gallery
47
Turning the Drove
48
Fight for the Standard
49
Falcon with a Ptarmigan
50
Herding the Flock
51
Gathering Flocks on the Grampian Hills
52
Gundogs and Game
53
The Drover's Halt, island of Mull in the distance
54
Dog and Game
55
The Interrupted Meal
56
Hunter and Deer in a Highland Landscape
57
Lost In The Storm
58
Good Friends
59
A Family of Gordon Setters
60
Gamekeeper with Spaniels
61
King Charles Spaniels
62
The blacksmith's shop
63
A West Highland White and a Skye Terrier Guarding the Day.s Bag
64
Mountain Scene with DeerVictoria Art Gallery
65
Dull Day, Shooter Returning with Dogs
66
The Gamekeeper
67
Dogs and a Pheasant
68
Two small dogs
69
Man Reclining Accompanied by a Horse and a Dog
70
The Gardener's Daughter
71
A Ploughing MatchTate Gallery
72
The Hunted Slaves1861 · Walker Art 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 | Richard Ansdell teosid | Selle nimekirja maalid |
|---|---|---|---|
 Yale Center for British Art |
New Haven | 2 | Studies for the Portraits of Lord Eglinton, Lord Douglas and Lord Stradbroke in `The Waterloo Cup Coursing Meeting' (in the Walker Art Gallery), 1840, The Caledonian Coursing Meeting near the Castle of Ardrossan, the Isle of Arran in the Distance |
 Auckland Art Gallery Toi o Tāmaki |
Auckland | 1 | Highland Shepherd |
 Knightshayes Court |
Tiverton | 1 | The Lost Sheep |
 Atkinson Art Gallery Collection |
Southport | 1 | The Drover's Halt |
 Touchstones Rochdale Arts And Heritage Centre |
Rochdale | 1 | Dog and a Dead Partridge |
 Towneley Hall Art Gallery And Museum |
Burnley | 1 | Ferreting |
 Guildhall Art Gallery |
London | 1 | Dog with a Wild Duck |
 Victoria Art Gallery |
Bath | 1 | Mountain Scene with Deer |
Vali vuosakülg, et näha selle ajastu definieerivat originaalteost.
The artwork titled Studies for the Portraits of Lord Eglinton, Lord Douglas and Lord Stradbroke in `The Waterloo Cup Coursing Meeting' (in the Walker Art Gallery), 1840 is a series of three portrait studies by the artist Richard Ansdell. Created about 1841, these studies focus on the likenesses of three specific gentlemen. The subjects are identified by inscriptions as Lord Douglas, Lord Stradbroke, and Lord Eglinton.
In this work from about 1853, Richard Ansdell presents a quiet, still life centered on the spoils of a successful hunt. The composition focuses on a hunter's game bag, which is filled with various birds. One can observe the specific forms of pheasants, ducks, and geese resting together, their bodies arranged to suggest the immediate aftermath of a pursuit. The arrangement emphasizes the abundance of the catch, capturing a moment…
Highland Shepherd by Richard Ansdell presents a serene and expansive landscape within the Highlands. Created about 1864, the work captures a quiet companionship between humans, animals, and the natural environment. The scene focuses on the rhythms of rural life, specifically the fundamental relationship between shepherds and their flock.
In Goatherds, Gibraltar Looking Across The Strait Into Africa, the artist Richard Ansdell captures a moment of stillness upon a rugged hillside. Painted about 1871, the scene centers on a young woman seated atop a donkey. She rests amidst a slow-moving flock of goats and sheep that navigate the uneven, rocky terrain. The landscape is heavy with the weight of stone and the quiet rhythm of pastoral life.
In The Lucky Dogs, Richard Ansdell brings a quiet, lived-in moment to life. Created about 1881, the scene centers on a man who appears to be a shepherd or a dog trainer, deeply embedded in his daily life. He sits at the heart of the gathering, surrounded by a lively group of dogs of various sizes and breeds. These animals press in close, their presence filling the space around him…
The Game Bag (1853). Järgnevad Studies for the Portraits of Lord Eglinton, Lord Douglas and Lord Stradbroke in `The Waterloo Cup Coursing Meeting' (in the Walker Art Gallery), 1840 (1841) ja Mr. and Mrs. John Naylor with a Keeper and a Dead Stag (1847).
38 aastat vanus: teos The Game Bag on pärinev aastast 1853 ning Richard Ansdell sündis aastal 1815.
The Game Bag, Studies for the Portraits of Lord Eglinton, Lord Douglas and Lord Stradbroke in `The Waterloo Cup Coursing Meeting' (in the Walker Art Gallery), 1840, Mr. and Mrs. John Naylor with a Keeper and a Dead Stag, Highland Shepherd, Goatherds, Gibraltar Looking Across The Strait Into Africa, The Lost Sheep, The Highlander Lassie, The Lucky Dogs, Highland Bothy ja Waiting for Master. Ülemine reiting näitab iga teose puhul aastat ja muuseumi.
Meie kataloogist leiate 73 teost kunstnikult Richard Ansdell, mis on pärinevad ajastust 1837 kuni 1883.
Peamiselt Yale Center for British Art (New Haven), Auckland Art Gallery Toi o Tāmaki (Auckland) ja Knightshayes Court (Tiverton) muuseumites. Ülalpool olevate muuseumite tabelis on nendest kõik loetletud.
Ajal 1840s: 15 72 sellel lehel olevat teost on sellel perioodil loodud, მათart közül Studies for the Portraits of Lord Eglinton, Lord Douglas and Lord Stradbroke in `The Waterloo Cup Coursing Meeting' (in the Walker Art Gallery), 1840.
Sellel lehel on kõige vanem teos Waiting for Master (1837) ja kõige värskeim Highland Bothy (1883).
Rural life (4), Mountain landscape (3) ja British landscape (3), kogu selle lehekülje 72 teose kohta.
Oil On Canvas, 11 teoseks 72 töödelt sellel lehel.
Romanticism ja Realism, seda lähtudes selle lehe originaalteostest.
Studies for the Portraits of Lord Eglinton, Lord Douglas and Lord Stradbroke in `The Waterloo Cup Coursing Meeting' (in the Walker Art Gallery), 1840 ja The Caledonian Coursing Meeting near the Castle of Ardrossan, the Isle of Arran in the Distance: Yale Center for British Art, New Haven säilitab 2 selle lehel olevat teost.
Siiski, isegi nendes väljakutsetes, õitsnes kunstitalent, mida toetas esmalt õppimine kohaliku portretisti W.C. Smith juures ning hiljem täiendas Hollandis sildipintrina tegutsemine – kogemus, mis laiendas tema kunstilisi horisonte ja tutvustas teda erinevate teemadega. See kujundav periood sisaldas Ansdellis mitte ainult tehnilist oskust, vaid ka teravat tähelepanekute võimekust, mis määratas tema tulevase töö. Ta kujundas end kiirelt Liverpooli kunstimaastikul, esinedes Liverpooli Akadeemias alates avast 1835. aastast ja muutudes järgmisel aastal seal tudengiks, laidades aluse oma produktiivsele kareerile.
Ansdelli tõus tuntuses oli kiire. Tema võime tabada maaelu olemust – jahipidamise energiat, karjakarja vaikset väärikust, metsloomakohtumise dramalist pinget – kõlastas sügavalt viktoriaansetest publikist. Ta esines esimest korda Londoni Kuninglikus Akadeemias 1940. aastal teostega „Grouse Shooting“ ja „A Galloway Farm“, tähistades algust igasaastase kohalolu jaoks, mis püsis kuni tema surmuni 1885. aastal, kogudes muljetandava 149 maali. See järjepidev loovus räägib nii tema pühendumusest kui ka tema töö püsivast nõudlusest. Kuid Ansdell ei olnud üks neist, kes töötas isoleeritult. Ta otsis sageli koostööd teiste kunstnikega, tunnustades iga üksi tugevusi, mida kompositsioon toob kaasa. Tema partnerlus maalistaja meistri Thomas Creswickiga osuts eriti viljakaks, võimaldades Ansdellil integreerida hoolikalt kujutatud loomad kütkestavates looduslikel taustades. Koostöö William Powell Frithi ja John Phillipiga rikkastas veelgi tema kunstilist repertuaari; eriti märkimisväärne oli tema reis Hispaaniasse Phillipiga 1eks 1856. ja 1857. aastal, mis tõid kaasa sarja lummavaid Hispaania teemasid, näidates tema talendi teist tahku. Need koostööd ei olnud pelgalt praktilised kokkulepped, vaid võimalused ideede ja tehnikate vaheliseks vahetuseks, tõstes kõigi osalejate loodud töö kvaliteeti.
Kogu oma karjääri jooksul kogus Ansdell märkimisväärset tunnustust oma kunstilistele saavutustele. Ta pälvis 1855. aastal Pariisi EXPO kuldmediaali teostele „The Wolf Slayer“ ja „Taming the Drove“, kinnistades oma rahvusvahelist mainet. Lisaks auhindadeks kuulusid kolm prestiižset Heywoodi medjali Manchesteri Kuninglikus Instituutsis. See tunnustus culminatsioonis tema valimisega Kuningliku Akadeemia assotsieeritud liikuks (ARA) 1861. aastal, järelnedes täiskuulususeks Kuninglikuna Akadeemikuna (RA) 1870. aastal – need olid verstad, mis kinnitasid tema positsiooni Briti kunstimaastikul. Kuigi ta oli avalikkuse seas ääretult populaarne, tekitas Ansdelli töö mõnikord kriitikat ka mõne poolt. Võrreldes ajastu teise prominentse loomamaalari Edwin Landseeriga, lesisid mõned kriitikud Ansdelli maalidest teatud emotsionaalse sügavuse puudumist. Sagedusest hoolimata oli tema stiil iseloomustatud hoolikase detailidega, realistliku esitlusviisiga ning anatomia ja liikumise meistralusega. Tal oli erakordne võime edastada tekstuure – metsiku karke karvastik, hobuse sile nahk, lambavilla pehmus – tuues oma teemad lõuendatult elavaks õlapinale.
Richard Ansdell surmas 1885. aastal, jättes järele mahuka teose, mis enamki täna publikut lummab. Tema maalid pakuvad fassineerivat pilku viktoriaanlikule ühiskonnale, peegeldades selle ajastu kummardust maaelu tegevustele, spordile ja loodusmaailmale. Teda mäletatakse mitte ainult oskusliku kunstnikuna, vaid ka oma aja kronikleerina. Unikaalselt ulatub Ansdelli pärand ka beyond kunsti maailma; ta on üks väheestest kunstnikest, kelle nimel on nimetatud piirkond – Ansdell, Lytham St Annesis – mis on tunnistus tema kohalikule tähtsusele ja püsivale populaarsusele. Tema teoseid hoiustatakse peades kollektsioonides üle Suurbritannia, sealhulumbi Liverpooli Walker Art Gallery ja Lytham St Annes Art Collection, tagades nende kättesaadavuse tulevatele põlvkedele. Hilisemad hindamised, nagu 15 000–20 000 naela hinnapakkumine Friesian hobuse maale, mis nähti BBC Onei Antiques Roadshow's, demonstreerivad jätkuvat huvi tema töö vastu ja selle püsivat väärtust. Teos The Hunted Slaves, oma võimsate anti-slaavuse sõnumiga, jääb eriti kütkestavaks, näidates Ansdelli võimet seostuda oluliste sotsiaalsete probleemidega läbi oma kunsti. Lõplikult peitub Richard Ansdelli pärand tema üksikasjalikes ja kaasahaaravates ajakirjas dokumenteeritud viktoriaanliku elu kujutlustes – maailmas, mis on elavaks tehtud läbi tema meistritegevuse pintoonide ja vankumatust pühendumuse looduse ilu ja dramaatilisuse tabamisele.
