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William Horsley (1801) je slika autora William Owen koja privlači najviše pogleda; original se nalazi u muzeju National Portrait Gallery, London. Nakon toga, pogled se usmjerava na Frederick Ricketts (1793) i Portrait of Charles Townley in an Interior (1784). Među 84 djela umjetnika William Owen u našem katalogu, ovih 83 su najpoznatija, od kojih je svako jedinstveni original predstavljen s godinom nastanka, muzejom i razlogom zbog kojeg je vječno.
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 ExmouthNational Maritime Museum
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 ElphinstoneNational Maritime Museum
66
Horatia Nelson Kneeling Before Her Father's TombNational Maritime Museum
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
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 William Owen | Slike iz ovog popisa |
|---|---|---|---|
 National Portrait Gallery |
London | 6 | William Horsley, Alexander Wedderburn, 1st Earl Of Rosslyn, John Wilson Croker |
 National Maritime Museum |
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 Museum of Art |
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 |
 Muzej likovnih umjetnosti |
Boston | 1 | Thomas John Dibdin |
Odaberite desetljeće kako biste vidjeli original koji ga definira.
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. Nakon njih slijede Frederick Ricketts (1793) i Portrait of Charles Townley in an Interior (1784).
32 godina: William Horsley datira iz 1801, a William Owen je rođen/a 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 i Thomas John Dibdin. Gornji rang prikazuje godinu i muzej za svako od njih.
Naš katalog sadrži 84 djela umjetnika William Owen, datiranih od 1784 do 1815.
Većinom u National Portrait Gallery (London), National Maritime Museum (London) i Birmingham Museum and Art Gallery (Birmingham). Gornja tablica muzeja navodi sve njih.
U 1810s: 3 od 83 djela na ovoj stranici nastalo je tada, od čega je Sir Joseph Radcliffe, 1st Bt (1744 -1818) Sir Joseph Radcliffe, 1st Bt (1744 -1818).
Na ovoj stranici najstarije djelo je iz Portrait of Charles Townley in an Interior (1784), a najnovije iz Portrait of a Man (1815).
Men (11), Women (6) i Man (4), kroz svih 83 djela na ovoj stranici.
Oil On Canvas, za 4 od 83 djela na ovoj stranici.
Neoclassicism, sudeći po originalima na ovoj stranici.
William Horsley, Alexander Wedderburn, 1st Earl Of Rosslyn i John Wilson Croker: National Portrait Gallery, London posjeduje 6 djela s ove stranice.
U veličanstvenom, često teatralnom tapiseriji britanske portretne slikarstva tijekom georgijanskog doba, postojala je suptilna, introspektivnija nit koju je utkao William Owen. Rođen 1769. godine u povijesnom gradu Ludlowu, u Shropshireu, Owen je bio slikar koji je izbjegavao upadljivu brawuru svojih suvremenika u korist duboke, psihološke složenosti. Njegovo putovanje od provincijskih krajolika mladosti do prestižnih dvorana Kraljevske akademije svjedočanstvo je urođenog talenta koji nije težio samo vjernom prikazivanju lika, već hvatanju same bit će ljudskog duha. Iako su njegove rane godine oblikovale znanstvena atmosfera Etona i Oxforda, upravo je njegov preseljak u London 1ast86. godine pokrenuo njegovu umjetničku sudbinu, vodeći ga kroz šegrtovanje kod kočaraškog slikara Charlesa Cattona prije nego što je usvojio vrhove britanske umjetničke ustanove.
Putanju Owenove karijere duboko je oblikovalo mentorstvo Sir Josheua Reynoldsa, titana britanskog portretizma. Pod Reynoldsovim vodstvom, Owen je naučio upravljati složenostima svjetla i sjene, usvajajući stil koji je crpio inspiraciju iz klasične elegancije venecijanskih majstora. Međutim, dok je Reynolds često prihajao grandioznom i dramatičnom, Owen je svoju snagu pronašao u suzdržanosti. Savladao je upotrebu chiaroscuma—osjetljive igre svjetla i tame—kako bi lica izobličio s mekom, gotovo živopisnom preciznošću. Njegovo djelo odlikuje iznimna sposobnost prenosa suptilnih izraza, prožimajući njegove subjekte osjećajem tihe dostojanstvenosti i unutarnjeg karaktera koji djeluje nevjerojatno intimno čak i stoljećima kasnije.
Kao član Kraljevske akademije, Owen je postao traženi kroničar britanske elite. Njegov portfolio služi kao prozor u društveno tkivo svog vremena, prikazujući portrete utjecajnih figura poput Williama Pitta mlađeg i budućeg kralja Georgea IV. To nisu bili samo vježbi u prikazivanju statusa; Owen je svakom narudžbi pristupao s pedantnom pažnjom prema detaljima i predanošću psihološkoj istini. Bilo da je prikazivao čvrstu odlučnost državnika ili nježnu milost dame, njegov je potez četkice ostao rafiniran i svrsishodan.
Izvan formalnih portreta aristokracije, Owenov talent protezao se i u žanrovsku slikarstvo, gdje je istraživao nježnije, humanističke teme. Njegova djela su često zabadala trenutke tihe kontemplacije ili jednostavne, svakodnevne ljepote, poput njegovog značajnog djela Counting Her Change. U tim kompozicijama vidi se slikar duboko zaljubljen u nijanse svjetlosti koja pada na tkaninu i meke teksture kože, stvarajući scene koje djeluju istovremeno bezvremenski i duboko utemeljeno u stvarnosti. Ta svestranost omogućila mu je da premosti jaz između visokog društvenog portreta i poetskog promatranja sitnijih, poignantnijih trenutaka života.
Iako povijest ponekad pamti upadljivije slikare kasnog 18. i ranog 19. stoljeća, značaj Williama Owena leži u njegovom doprinosu rafiniranosti britanskog portretizma. Pomogao je u kultiviranju tradicije psihološkog realizma koja se udaljila od čiste ornamentacije prema dubljem istraživanju identiteta. Njegova sposobnost uravnotežiti klasičnu obuku s osjetljivim, modernim promatranjem svojih subjekata osigurala mu je mjesto među poštovanim majstorima svog doba.
Naslijeđe Williama Owena ostaje utisnuto u kolekcijama velikih institucija poput National Portrait Gallery i Tate. Danas proučavati njegov rad znači doživjeti eleganciju georgijanskog doba kroz leću duboke empatije. Njegov život, iako relativno kratak, završio je 1ms1825. godine, ostavljajući za sobom opus koji nastavlja odjekivati u svakome koga pokrene moć dobro uhvaćenog pogleda ili tiha snaga pronađena u prekrasno prikazanoj sjeni. On ostaje vitalna figura za razumijevanje evolucije engleske umjetnosti, predstavljajući razdoblje u kojem su tehničko majstorstvo i duševna, poetska vizija pronašle zajednički jezik.
