Uuendatud november 2026 · järjestatud meie populaarsusindeksi järgi (otsingud, külastused ja tellimused igale teosele) · 84 teost William Owen meie kataloogis
Lühidalt
William Horsley (1801) on William Owen maalide kõige silmapaistvam teos; originaal kuulub museumi National Portrait Gallery, London. Pärast seda suunatakse pilk Frederick Ricketts (1793) ja Portrait of Charles Townley in an Interior (1784) suunas. Meie kataloogis olevatest William Owen 84 teosest on need 83 kõige kuulsumat, millist igaüks on esitatud koos aasta, muuseumi ja põhjusega, miks teos on püsiv.
In this 1801 oil on canvas, we encounter William Horsley, a man whose presence is felt through a profound sense of composure. The portrait, rendered by William Owen, captures the subject in a three-quarter length view, his gaze directed slightly away from the viewer toward the left. There is a certain gravity to his posture, a stillness that suggests a life of intellectual or musical pursuit. He holds a rolled…
William Owen executed this oil on canvas portrait of Frederick Ricketts in 1793. The work belongs to the genre of portraiture, capturing the likeness of the young subject during the late eighteenth century. It remains a significant example of Owen's early professional output, produced at the outset of his career.
The gaze of the viewer meets the steady presence of Charles Townley in this oil on canvas titled Portrait of Charles Townley in an Interior. Painted by William Owen, the work captures the subject within a private, domestic setting that speaks to his character and station. The scene unfolds around the man, who sits amidst the quietude of his surroundings, appearing caught in a moment of thoughtful repose.
Born Joseph Pickford, the man who would become Sir Joseph Radcliffe, 1st Bt, lived a life shaped by the weight of inheritance. To secure the estates of Milnsbridge, he adopted his mother's surname in 1795. The portrait captures a figure defined by the gravity of his station and the shifting tides of his own identity. He moved through the social strata of the Georgian era as both a landowner and…
The air in the room seems to thicken around the figure of Sir David Dundas, a man whose very posture commands the space he occupies. He sits in a three-quarter length pose, his body angled toward the viewer while his gaze drifts slightly to the left, as if caught in a moment of quiet reflection amidst the weight of his responsibilities. The light, descending from the upper left, carves his…
The oil on canvas work titled Portrait of a Man was executed by the British artist William Owen. Created ca. 1815, the painting depicts a gentleman positioned within a landscape. The subject is presented in outdoor attire, appearing alongside a dog, specifically identified in some records as a setter. This composition places the man and the animal within a natural setting that includes elements of foliage and a receding vista.
Alexander Wedderburn, 1st Earl Of RosslynNational Portrait Gallery
12
Shute Barrington -
13
Self Portrait
14
Edmund Isham
15
Portrait Of Robert Townley Holding A Telescope
16
John Kemble In 'the Stranger'
17
John Scott, 1st Earl Of Eldon
18
Richard Prosser
19
Sir Thomas Dyke AclandKillerton
20
Phineas Pett
21
Sir Joseph Radcliffe
22
John Parsons
23
The Rest By The Wayside
24
Cyril Jackson
25
Shute Barrington
26
Cyril Jackson -
27
Sir William Elias Taunton, Town Clerk
28
Mrs RobinsonPetworth House
29
Wyndham
30
John Richardson
31
Georgiana Mari, Lady Leicester
32
Bishop BurgessNational Library of Wales
33
Sir John Nicholl
34
Reverend William Heathcote
35
Josiah Wedgwood Ii
36
John Wilson CrokerNational Portrait Gallery
37
Portrait Of A Man And A WomanBirmingham Museum and Art Gallery
38
Portrait Of A Gentleman
39
Sir Leonard Thomas Worsley Holmes
40
Sophia HumeBelton House
41
Matthew Baillie
42
Colonel John MatthewsSizergh Castle
43
Sir Augustus Wall Callcott
44
Shute Barrington -
45
Boy And Kitten
46
Anne Hoare, Lady Mathew
47
Dr Phineas Pett, Principal
48
Cottage Children
49
Nicholas Vansittart, Baron Bexley
50
Archibald Kennedy, 12th Earl Of Cassillis, Later 1st Marquess Of Ailsa
51
John Randolp, Bishop Of London
52
Scott, Baron Stowell, Judge Of The High Court Of Admiralty
53
HowleyNational Portrait Gallery
54
Admiral Edward Pellew , 1st Viscount ExmouthRahvuslik Mereväemuuseum
55
Abraham Caldecott
56
Lord Stowell
57
John SoaneSir John Soane's Museum
58
Sir Samuel Romilly
59
Dr Howard Of Knutsford
60
Colonel Thomas Wood Of Gwernyfed
61
Sir George Chetwynd
62
Captain Gilbert HeathcoteBirmingham Museum and Art Gallery
63
Portrait Of An Old Lady
64
John Scott, 1st Earl Of Eldon -
65
Admiral Lord George Keith ElphinstoneRahvuslik Mereväemuuseum
66
Horatia Nelson Kneeling Before Her Father's TombRahvuslik Mereväemuuseum
67
Folliott Herbert Walker CornewallNational Portrait Gallery
68
Thomas Burgess
69
Nicholas Vansittart, 1st Baron Bexley, High Steward And Mp For Harwich, Chancellor Of The Exchequer
70
Praed, First Chairman Of The Grand Junction Canal Company
71
Lady Hannah Chetwynd
72
General John William EgertonBelton House
73
John Soane Junior And George Soane
74
Charlotte Sparrow
75
John Sparrow, Chairman Of Quarter Sessions
76
Captain Henry Gee Boulders Barnard
77
John Sparrow Of Bishton HallWestfälisches Landesmuseum
78
Wentworth Fitzwilliam, 2nd Earl FitzwilliamNational Portrait Gallery
79
The 2nd Lord De Tabley, As A Boy
80
Sir Charles Gould Morgan-robinson
81
Wyndham Grenville, Baron Grenville, Chancellor Of The University
82
Elizabeth Sparrow Of Bishton Hall
83
The Grandchildren of Sir William Heathcote, 3rd BaronetMetropolitan Museum of Art
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 | William Owen teosid | Selle nimekirja maalid |
|---|---|---|---|
 National Portrait Gallery |
London | 6 | William Horsley, Alexander Wedderburn, 1st Earl Of Rosslyn, John Wilson Croker |
 Rahvuslik Mereväemuuseum |
London | 3 | Admiral Edward Pellew , 1st Viscount Exmouth, Admiral Lord George Keith Elphinstone, Horatia Nelson Kneeling Before Her Father's Tomb |
 Birmingham Museum and Art Gallery |
Birmingham | 2 | Portrait Of A Man And A Woman, Captain Gilbert Heathcote |
 Belton House |
Grantham | 2 | Sophia Hume, General John William Egerton |
 Carnegie Kunstimuuseum |
Pittsburgh | 1 | Frederick Ricketts |
 Royal Collection |
London | 1 | Sir David Dundas (1725-1820) |
 Yale Center for British Art |
New Haven | 1 | Portrait of a Man |
 Museum of Fine Arts |
Boston | 1 | Thomas John Dibdin |
Vali vuosakülg, et näha selle ajastu definieerivat originaalteost.
The gaze of the viewer meets the steady presence of Charles Townley in this oil on canvas titled Portrait of Charles Townley in an Interior. Painted by William Owen, the work captures the subject within a private, domestic setting that speaks to his character and station. The scene unfolds around the man, who sits amidst the quietude of his surroundings, appearing caught in a moment of thoughtful repose.
William Owen executed this oil on canvas portrait of Frederick Ricketts in 1793. The work belongs to the genre of portraiture, capturing the likeness of the young subject during the late eighteenth century. It remains a significant example of Owen's early professional output, produced at the outset of his career.
In this 1801 oil on canvas, we encounter William Horsley, a man whose presence is felt through a profound sense of composure. The portrait, rendered by William Owen, captures the subject in a three-quarter length view, his gaze directed slightly away from the viewer toward the left. There is a certain gravity to his posture, a stillness that suggests a life of intellectual or musical pursuit. He holds a rolled…
Born Joseph Pickford, the man who would become Sir Joseph Radcliffe, 1st Bt, lived a life shaped by the weight of inheritance. To secure the estates of Milnsbridge, he adopted his mother's surname in 1795. The portrait captures a figure defined by the gravity of his station and the shifting tides of his own identity. He moved through the social strata of the Georgian era as both a landowner and…
William Horsley (1801), National Portrait Gallery, London. Järgnevad Frederick Ricketts (1793) ja Portrait of Charles Townley in an Interior (1784).
32 aastat vanus: teos William Horsley on pärinev aastast 1801 ning William Owen sündis aastal 1769.
William Horsley, Frederick Ricketts, Portrait of Charles Townley in an Interior, Sir Joseph Radcliffe, 1st Bt (1744 -1818), Sir David Dundas (1725-1820), Portrait of a Man, Bishop Thomas Burgess, Portrait of Henry Townley standing in Academic dress, Merton College, Oxford possibly in, Margaret Erskine Of Dun, Wife Of The 12th Earl Of Cassilis, Later 1st Marquess Of Ailsa ja Thomas John Dibdin. Ülemine reiting näitab iga teose puhul aastat ja muuseumi.
Meie kataloogist leiate 84 teost kunstnikult William Owen, mis on pärinevad ajastust 1784 kuni 1815.
Peamiselt National Portrait Gallery (London), Rahvuslik Mereväemuuseum (London) ja Birmingham Museum and Art Gallery (Birmingham) muuseumites. Ülalpool olevate muuseumite tabelis on nendest kõik loetletud.
Ajal 1810s: 3 83 sellel lehel olevat teost on sellel perioodil loodud, მათart közül Sir Joseph Radcliffe, 1st Bt (1744 -1818).
Sellel lehel on kõige vanem teos Portrait of Charles Townley in an Interior (1784) ja kõige värskeim Portrait of a Man (1815).
Men (11), Women (6) ja Man (4), kogu selle lehekülje 83 teose kohta.
Oil On Canvas, 4 teoseks 83 töödelt sellel lehel.
Neoclassicism, seda lähtudes selle lehe originaalteostest.
William Horsley, Alexander Wedderburn, 1st Earl Of Rosslyn ja John Wilson Croker: National Portrait Gallery, London säilitab 6 selle lehel olevat teost.
Georgeian era suurepärases ja sageli teatraalses Briti portreemaalide kangaas eksisteeris peidetud, introspektiivsem niit, mille lõimajaks oli William Owen. Sündides 1769. aastal ajaloolises Ludlow'i linnas Shropshireis, oli Owen maalari, kes eelistas oma kaaslastegi kirevat bravuurit sügavamale psühholoogiale. Tema teekond noorenk年 provintsiaalsest maastikust kuni Kunstiakadeemia prestiižsetesse saalidesse on tunnistus loomulikust talentist, mis ei püüdnud vaid sarnasu tõendada, vaid tabada inimvaimu häälest. Kuigi tema varajaseid aastaid kujundasid Etoni ja Oxfordi teaduslikud õhkkond, oli just 1786. aastal tehtud kolisemine Londoni, mis süütele tema kunstilise saatuse, viies teda läbi õpilaskoolituse kooperatiivimaalari Charles Cattoni juures enne kui ta tõusis Briti kunstimaailma tippide hulka.
Owen'i karjääri suund oli sügavalt mõjutatud Briti portreetööti titan Sir Joshua Reynolds juhendamisest. Reynoldsi õpet under õppis Owen navigeerima valgusest ja varjust keerukustes, omades stiili, mis sai inspiratsiooni Veneetsia meistrite klassikalisest elegantsist. Kuid seal, kus Reynolds armastas sageli suursugusust ja dramatiikat, leidis Owen oma jõu peitlikus. Ta meistritas chiaroscuro — valgus-varju õrna mängu — et skulptureerida näite pehmet, elulikku täpsust. Tema tööd iseloomustab eriline võime edastada peeneid ekspresse üles, andes oma teema jaoks vaikset väärikust ja sisemist iseloomu, mis tundub märkimisväärselt intiimne isegi sajandite pärast.
Kui Kunstiakadeemia liige, sai Owen Briti eliiti otsitav kronikaator. Tema portfoolio toimib aknana ajastu sotsiaalses kangaas, sisaldades portrette mõjuvatest isikutest nagu William Pitt noorem ja tulev Kuningas George IV. Need ei olnud pelgalt staatuse demonstratsioonid; Owen lähenes igale tellimusele hoolikalt detailidele keskendudes ja psühholoogilise tõe pühendumusega. Olgu siis tegemist riigimehe karmuse või daami pehme armsusega, tema pintoon jäi rafineeritud ja sihipärane.
Lisaks aristokraatide ametlikle portreetidele lahendus Owen'i talent ka žanrimaalide valdkonda, kus ta uuris armsamaid, humanistlikke teemasid. Tema teosed tabasid sageli vaikseid mõtteluid või lihtsat igapäevast ilu, nagu tema märkimistekst Counting Her Beautiful Change. Nendes kompositsioonides näeb maalari, kes on sügavalt armunud kanga ja naha pehmuse ning valguslaikumite nüanssidega, luues stsenaare, mis tunduvad ajatustest hoolimata sügavalt reaalsuses juurdunud. See mitmekülgsus võimaldas tal ühendada kõrge ühiskonna portreetide ja elu väiksemate, emotsionaalselt puudutavate hetkede poeetilise jälgimise.
Kuigi ajalugu mäletab vahel 18. sajandi lõpu ja 19. sajandi alguse kirevamaid maalareid, peitub William Owen'i väärtus Briti portreetööri tärakujunduses. Ta aitas kultiveerida psühholoogilise realismi traditsiooni, mis liikus kaugemale pelgust kaunistusest, suunates pilgu sügavamale identiteedi uurimisele. Tema võime tasakaalustada klassikalist koolitust tundlikku ja kaasaegset tema tähelepanuga tagasid tema paik respected meistrite seas oma ajast.
William Owen'i pärand on säilinud suurenete institutsioonide, nagu National Portrait Gallery ja Tate, kogumites. Tema tööd tänapäeval õppida on kogeda Georgian era elegantsi sügava empaatia kaudu. Tema elu, ehkki suhteliselt lühike, lõppes 1825. aastal, jättes jälgamiseks teoseid, mis kõlavad edasi kõigega, keda puudutab hästi tabatud pilk või iluliselt kujutatud varju vaikne jõud. Ta on endiselt elutähtis tegelane inglise kunsti evolutsiooni mõistamiseks, esindades perioodi, kus tehniline täius kohtas hingelast, poeetilist visiooni.
