Ažurirano Studeni 2026 · rangirano prema našoj ocjeni popularnosti (pretraživanja, posjeti i narudžbe za svako djelo) · 244 djela George Frederic Watts u našem katalogu
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Hope (1886) je slika autora George Frederic Watts koja privlači najviše pogleda; original se nalazi u muzeju Tate Britain, London. Nakon toga, pogled se usmjerava na Ellen Terry (1864) i The Minotaur (1885). Među 244 djela umjetnika George Frederic Watts u našem katalogu, ovih 100 su najpoznatija, od kojih je svako jedinstveni original predstavljen s godinom nastanka, muzejom i razlogom zbog kojeg je vječno.
Djelo „Nada” i danas snažno odjekuje, ne samo zbog svoje umjetničke vrijednosti, već i zbog svoje bezvremenske poruke. Ono služi kao podsjetnik da čak i u trenucima duboke tuge i očaja, sposobnost nade ostaje — krhka, ali neustrašiva nit koja nas povezuje s nečim većim od samih nas. Njegov utjecaj proteže se izvan svijeta umjetnosti; kao izvor inspiracije spominjale su ga figure poput Baracka Obame, koji je snažan simbolizam ovog…
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 · Skotska nacionalna galerija portreta
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 · Nacionalna galerija Kanade
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) od 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 · National Maritime Museum
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 · Nacionalna galerija Kanade
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 · Bavarske državne slikopisne zbirke
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
Četiri teme koje se najčešće ponavljaju u ovim originalima, svaka s svojim vrhunskim primjerom.
8 muzeja u kojima se nalazi najviše djela s ove stranice.
| Muzej | Grad | Djela autora George Frederic Watts | Slike iz ovog popisa |
|---|---|---|---|
 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 | Hope, 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 |
Odaberite desetljeće kako biste vidjeli original koji ga definira.
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…
Djelo „Nada” i danas snažno odjekuje, ne samo zbog svoje umjetničke vrijednosti, već i zbog svoje bezvremenske poruke. Ono služi kao podsjetnik da čak i u trenucima duboke tuge i očaja, sposobnost nade ostaje — krhka, ali neustrašiva nit koja nas povezuje s nečim većim od samih nas. Njegov utjecaj proteže se izvan svijeta umjetnosti; kao izvor inspiracije spominjale su ga figure poput Baracka Obame, koji je snažan simbolizam ovog…
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…
Hope (1886), Tate Britain, London. Nakon njih slijede Ellen Terry (1864) i The Minotaur (1885).
69 godina: Hope datira iz 1886, a George Frederic Watts je rođen/a 1817.
Hope, 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 i Virginia Dalrymple (1850-1922). Gornji rang prikazuje godinu i muzej za svako od njih.
Naš katalog sadrži 244 djela umjetnika George Frederic Watts, datiranih od 1836 do 1901.
Većinom u National Portrait Gallery (London), Birmingham Museum and Art Gallery (Birmingham) i Tate Britain (London). Gornja tablica muzeja navodi sve njih.
U 1860s: 25 od 100 djela na ovoj stranici nastalo je tada, od čega je Ellen Terry Ellen Terry.
Na ovoj stranici najstarije djelo je iz Ruth and Boaz (1836), a najnovije iz Charles Booth (1901).
Man (63), Portrait (40) i Beard (29), kroz svih 100 djela na ovoj stranici.
Oil On Canvas, za 84 od 100 djela na ovoj stranici.
Simbolistički pokret, sudeći po originalima na ovoj stranici.
Ellen Terry, (William) Edward Hartpole Lecky i Sir Charles Wentworth Dilke, 2nd Bt: National Portrait Gallery, London posjeduje 42 djela s ove stranice.
George Frederic Watts došao je na svijet u Marylebone, u Londonu, 23. veljače 1817. godine. Njegove su rane godine oblikovao tihi rad njegovog oca, proizvođača klavira, te teška sjena koju je ostavila smrt majke dok je još bio vrlo mlad. Taj rani gubitak ostavio je duboki trag na njegov karakter, možda pridonio onoj introspektivnoj dubini koja će kasnije definirati njegov umjetnički izraz. Unatoč krhkom zdravlju tijekom tih formativnih godina, kroz studije su se počela nazirati steady ruka i iznimno oštro oko za formu.
Dječji talent pronašao je svoj prvi pravi smjer sa deset godina, kada je počeo usvajati umjetnost kiparstva pod vodstvom Williama Behnesa. To rano uranjanje u trodimenzionalni oblik omogućilo mu je da razumije težinu i prisutnost figura puno prije nego što je svu svoju pažnju usredotočio na platno. Do trenutka kada je navršio osamnaest godina, njegove su ambicije prirasle izvan okvira privatnog studija. Godine 1835. upisao se kao student u Royal Academy Schools, tražeći način da usavrši instinkte koji su se njegovali još od djetinjstva.
Ambicija i prigodna sreća počeli su vući mladog umjetnika prema velikijoj sceni još 1843. godine. Te je godine podnio crtež na natječaj za dizajn zidnih slika za novo Zgranje parlamenta, što mu je donijelo prvu nagradu. Taj uspjeh otvorio je vrata koja su ga odvela daleko od poznatih ulica Londona, prema toplini Italije. Putovao je tamo od 1843. do 1847. godine, u razdoblju koje će temeljito preoblikovati njegovu viziju. Na tim je talijanskim tierrasima našao zaštitu u britanskom veleposlaniku, Henryju Foxu, čije je prisustvo pružilo i društvene veze i intelektualnu hranu tijekom njegovih formativnih putovanja.
Momentum stečen ranim uspjesima na kraju je vratio u službu vlastite domovine. Povjeren mu je značajan posao – izrada freske za Zgradu parlamenta, zadatak koji je okupirao njegove ruke i um između 1848. i 1853. godine. Taj je rad zahtijevao majstorstvo u radu s velikim oblicima i duboko razumijevanje načina na koji umjetnost može nastaniti monumentalne državne prostore. Kroz te javne dužnosti i vrijeme provedeno u lutanju srcem Europe, njegova umjetnost počela se udaljavati od jednostavne reprezentacije, okrenuvši se prema veličanstvenim, alegorijskim temama koje će definirati njegove kasnije godine.
Njegove su ambicije često dosezale do veličanstvenih razmjera ljudskog postojanja, nastojeći putem umjetnosti izmapirati samu srž duše. Zamislio je ambiciozan projekt poznat kao "Kuća života", ciklus freski koji je imao za cilj ilustrirati duhovni razvoj i podrijetlo čovječanstva. Iako je zbog nedostatka pokrovnika cijeli je ciklus ostao nedovršen, teme ljubavi i života i dalje su prožimale njegove poteze. Godine 1864. okrenuo je pažnju živim osobama, ulovivši lik glumice Ellen Terry u portretu koji je nastojao uhvatiti samu njezinu bit.
Težina ljudskog iskustva često se manifestirala u njegovim alegorijskim kompozicijama. Godine 1875. stvorio je djelo Chaos, rad koji je istraživao interakciju između čovječanstva i prirodnog svijeta kroz prizmu filozofske refleksije. Ta sklonost prema simbolizmu dosegnula je svoj duboki vrhunac 1886. godine dovršetkom djela Hope. Ova slika, koja postoji u dvije verzije, prikazuje figuru tihe odlučnosti usred poskrnjenog, plavokosnog pejzaža. Umjesto da nudi puki optimizam, ovo djelo prikazuje osjećaj ranjivosti i upornu potragu za svjetlošću unutar tame.
Njegova ruka kretala se s nemirnom ambicijom, nastojeći uhvatiti nevidljivo pomoću ulja na platnu. Kroz svoj plodni život, George Frederic Watts stvorio je oko 800 platana, od kojih je svaki bio korak u dugoj, evolucijskoj potrazi za vizualnim jezikom koji bi mogao nositi težinu ljudskog iskustva. Nije se zadovoljavao pskim oponašanjem života; umjesto toga, nastojao je prevesti unutarnje borbe duše u formu i boju. Taj je nagon vodio prema organskom pomicanju iz strukturiranih alegorija simbolističkog pokreta prema minimalističkoj, modernoj apstrakciji. Njegovo djelo često se nalazi na granici dva svijeta, premošćujući jaz između romantičnog simbolizma viktorijanske ere i novonastalih osjećaja modernizma.
U svojim kasnijim godinama, jasnoća njegovih subjekata počela je ustupati mjesto dubljem, esencijaliziranom načinu gledanja. Bio je privučen kosmičkoj sintezi, koristeći ponavljajuće motive i alegorijske prikaze kako bi istražio dubine ljudske snage i ludosti. Često je preferirao prikazivati svoje subjekte s zatvorenim očima, što je bio izbor koji je otkrivao njegovo rano interesiranje za nesvjesno. Ova tehnika omogućila mu je da se izmakne specifičnostima ljudskog lica i dosegne nešto univerzalnije. Njegov potezi četkicom i upotreba boje nikada nisu bili namijenjeni praćenju prolaznih modnih trendova svog doba, već dubinskom istraživanju pojedinačne psihe i vječnih istina za koje je vjerovao da su skrivene ispod površine vidljivog svijeta.
Utjecaj njegove vizije ostao je snažan dugo nakon njegove smrti, što mu je donijelo počasno priznanje, Order of Merit, 1902. godine. To priznanje svjedoči o životu provedenom u potrazi za dubokim istinama o ljudskom postojanju kroz platno i kamen. Njegova prisutnost i dalje se osjeća u dvoranama vodećih institucija, gdje njegova platna i dalje pozivaju na tiho promišljanje. U Londonu, Tate Britain čuva nekoliko njegovih značajnih djela, čuvajući težinu njegovih alegorijskih istraživanja za sve one koji šeću njegovim galerijama.
Za one koji žele razumjeti širinu njegovog kreativnog stvaralaštva, Watts Gallery – Artists' Village u Guildfordu nudi utočište njegovog sjećanja. Ovo mjesto posvećeno je očuvanju djela njegovog života i u njemu se nalazi najveća kolekcija njegovih slika, crteža i skulptura. To je mjesto gdje atmosfera njegovog doba ostaje opipljiva, omogućujući promatraču da se susretne s razmjerom njegove ambicije u okruženju koje djeluje duboko povezano s njegovim vlastitim duhom.
