Copley Fielding portréja

Copley Fielding festményei: A 89 leghíresebb alkotás, egy galéria szemével

Frissítve: november 2026 · rangsorolva népszerűségi pontszámunk alapján (minden mű keresései, látogatásai és megrendelései alapján) · 105 mű Copley Fielding alkotása a katalógusunkban

Röviden

A galéria szerint Copley Fielding leghíresebb festménye a Richmond hill, (1830). Ambelside, (1829) és Lake Nemi with Pontine Marshes in the Background (1837) kiegészítik azt a triót, amelyet minden szem felismer. A katalógusunkban szereplő 105 művész Copley Fielding alkotásából a galéria az alábbi 89 leghíresebbet mutatja be, amelyek mind egyedi originális művek, a készítés évszámával, a múzeum megnevezésével és a különlegességük leírásával.

1787 – 1855, Sowerby Bridge Romanticism A legtöbb mű: Birmingham Museum and Art Gallery

A galéria top 10 Copley Fielding festménye

Copley Fielding festményei, 11. helyezéstől 89. helyezésig

11Rotha Quillinan (1889) -ja Copley FieldingRotha Quillinan 12Figures Conversing In A Highland Landscape (1889) -ja Copley FieldingFigures Conversing In A Highland Landscape 13Thomas Lombe Taylor (1889) -ja Copley FieldingThomas Lombe Taylor 14Coniston Beck, Lake District (1889) -ja Copley FieldingConiston Beck, Lake District 15William Cubitt, Lord Mayor Of London (1889) -ja Copley FieldingWilliam Cubitt, Lord Mayor Of London 16View From Pont Aberglaslyn Looking West Towards Moel Hebog And The Aberglaslyn Woods (1889) -ja Copley FieldingView From Pont Aberglaslyn Looking West Towards Moel Hebog And The Aberglaslyn Woods 17Loch Katrine (1889) -ja Copley FieldingLoch Katrine 18Dunster Castle, sunset (1889) -ja Copley FieldingDunster Castle, sunsetArt Gallery of New South Wales 19Loch Lomond at Dawn (1889) -ja Copley FieldingLoch Lomond at Dawn 20Sea Piece (1889) -ja Copley FieldingSea Piece 21On The Wye (1889) -ja Copley FieldingOn The Wye 22A shipwreck on the yorkshire coast. (1889) -ja Copley FieldingA shipwreck on the yorkshire coast. 23A fishing vessel heading out to sea in a squall (1889) -ja Copley FieldingA fishing vessel heading out to sea in a squall 24Nanette Rocks (1889) -ja Copley FieldingNanette Rocks 25North View Of Tintern Abbey (1889) -ja Copley FieldingNorth View Of Tintern Abbey 26The Vale Of Neath (1889) -ja Copley FieldingThe Vale Of Neath 27Shipping In Rough Seas (1889) -ja Copley FieldingShipping In Rough Seas 28Henry Graves (1889) -ja Copley FieldingHenry Graves 29A Sea Piece (1889) -ja Copley FieldingA Sea Piece 30John Gibson (1889) -ja Copley FieldingJohn Gibson 31Hauling In The Fishing Boat Onto The Shore (1889) -ja Copley FieldingHauling In The Fishing Boat Onto The Shore 32Evening, Cattle Grazing By A Lake (1889) -ja Copley FieldingEvening, Cattle Grazing By A Lake 33Shipping off Portsmouth (1889) -ja Copley FieldingShipping off Portsmouth 34St. john's vale (1889) -ja Copley FieldingSt. john's vale 35View Of Langdale Pikes And Ullswater (1889) -ja Copley FieldingView Of Langdale Pikes And Ullswater 36Near Cadar Idris, North Wales (1889) -ja Copley FieldingNear Cadar Idris, North Wales 37Figures On A Bridge, With Ruins Beyond (1889) -ja Copley FieldingFigures On A Bridge, With Ruins Beyond 38Skiddaw from derwentwater (1889) -ja Copley FieldingSkiddaw from derwentwater 39Near Ullswater (1889) -ja Copley FieldingNear Ullswater 40Crowded Waters At Dusk (1889) -ja Copley FieldingCrowded Waters At Dusk 41Off to the fishing grounds (1889) -ja Copley FieldingOff to the fishing grounds 42Scarborough Castle (1889) -ja Copley FieldingScarborough Castle 43An Extensive Landscape With Cattle And A Drover (1889) -ja Copley FieldingAn Extensive Landscape With Cattle And A Drover 44On the glaslyn, north wales (1889) -ja Copley FieldingOn the glaslyn, north wales 45Droving cattle (1889) -ja Copley FieldingDroving cattle 46Mountainous Landscape With Lake And Stream (1889) -ja Copley FieldingMountainous Landscape With Lake And Stream 47Bolton Abbey From The River Wharfe, South View (1889) -ja Copley FieldingBolton Abbey From The River Wharfe, South View 48Loch Achray Ruskin (1889) -ja Copley FieldingLoch Achray Ruskin 49Distant View Of The Cumberland Hills From Eskdale (1889) -ja Copley FieldingDistant View Of The Cumberland Hills From Eskdale 50Scene Near Capel Curig Looking Towards Snowdon (1889) -ja Copley FieldingScene Near Capel Curig Looking Towards Snowdon 51Off Fingle's Cave, Staffa, Argyllshire (1889) -ja Copley FieldingOff Fingle's Cave, Staffa, Argyllshire 52Fishing Smacks And Other Vessels Off The Coast In A Squall (1889) -ja Copley FieldingFishing Smacks And Other Vessels Off The Coast In A Squall 53Mrs John Forster (1889) -ja Copley FieldingMrs John Forster 54Cattle Watering In The Lake District (1889) -ja Copley FieldingCattle Watering In The Lake District 55River view (1889) -ja Copley FieldingRiver view 56Dolbadern castle (1889) -ja Copley FieldingDolbadern castle 57Windsor Castle From The Park (1889) -ja Copley FieldingWindsor Castle From The Park 58View Of Loch Katrine, Perthshire, With Ben Venue Beyond (1889) -ja Copley FieldingView Of Loch Katrine, Perthshire, With Ben Venue Beyond 59Harlech Castle (1889) -ja Copley FieldingHarlech Castle 60An Extensive Landscape With A Hay-cart And Figures In The Foreground (1889) -ja Copley FieldingAn Extensive Landscape With A Hay-cart And Figures In The Foreground 61A View On The Brathay Near Ambleside (1889) -ja Copley FieldingA View On The Brathay Near Ambleside 62Cayton Cliff Mill, near Scarborough (1889) -ja Copley FieldingCayton Cliff Mill, near Scarborough 63Traeth Mawr, Port Maddock, North Wales (1889) -ja Copley FieldingTraeth Mawr, Port Maddock, North Wales 64Arundel Castle (1889) -ja Copley FieldingArundel Castle 65An Extensive Landscape With Cattle And Figures In The Foreground (1889) -ja Copley FieldingAn Extensive Landscape With Cattle And Figures In The Foreground 66View of langdale pikes and bow fell, over windermere, westmoreland (1889) -ja Copley FieldingView of langdale pikes and bow fell, over windermere, westmoreland 67Scarborough, with a boat being vitalled in the harbour (1889) -ja Copley FieldingScarborough, with a boat being vitalled in the harbour 68Fishing vessels before st michael's mount (1889) -ja Copley FieldingFishing vessels before st michael's mount 69Figures Conversing In A Mountainous Lake Landscape (1889) -ja Copley FieldingFigures Conversing In A Mountainous Lake Landscape 70Off ramsgate at sunset (1889) -ja Copley FieldingOff ramsgate at sunset 71Fishing boats in a stiff breeze, off shore (1889) -ja Copley FieldingFishing boats in a stiff breeze, off shore 72A Storm Passing Off on the Coast of Merionethshire (1889) -ja Copley FieldingA Storm Passing Off on the Coast of Merionethshire 73Distant View Of Rievaulx Abbey, Near Helmsley, Yorkshire (1889) -ja Copley FieldingDistant View Of Rievaulx Abbey, Near Helmsley, Yorkshire 74A Herder With Cattle At The Edge Of A Lake In A Mountainous Landscape (1889) -ja Copley FieldingA Herder With Cattle At The Edge Of A Lake In A Mountainous Landscape 75A View Of Penrhyn Castle, Wales, With Figures In The Foreground (1889) -ja Copley FieldingA View Of Penrhyn Castle, Wales, With Figures In The Foreground 76Figures by a lake at dusk (1889) -ja Copley FieldingFigures by a lake at dusk 77Lazing on the downs, watching over the flock (1889) -ja Copley FieldingLazing on the downs, watching over the flock 78Cows In A River Landscape (1889) -ja Copley FieldingCows In A River Landscape 79Adam Sedgwick, Fellow, Geologist And Woodwardian Professor (1889) -ja Copley FieldingAdam Sedgwick, Fellow, Geologist And Woodwardian Professor 80Byland Abbey, Yorkshire (1889) -ja Copley FieldingByland Abbey, Yorkshire 81The ferry boat, possibly dartmouth cove (1889) -ja Copley FieldingThe ferry boat, possibly dartmouth cove 82A figure standing on a beach with shipping beyond (1889) -ja Copley FieldingA figure standing on a beach with shipping beyond 83A Scene On The Coast, Merionethshire (1889) -ja Copley FieldingA Scene On The Coast, MerionethshireYale Center for British Art 84Richard Lynch Cotton (1889) -ja Copley FieldingRichard Lynch Cotton 85A rest by the wayside, sunset (1889) -ja Copley FieldingA rest by the wayside, sunset 86William Gibbs (1889) -ja Copley FieldingWilliam GibbsTyntesfield 87Ennerdale, from high point farm (1889) -ja Copley FieldingEnnerdale, from high point farm 88John Frederick Lewis (1889) -ja Copley FieldingJohn Frederick Lewis 89Mrs Susannah Milner-gibson, Nee Cullum (1889) -ja Copley FieldingMrs Susannah Milner-gibson, Nee Cullum

A témák, amelyek Copley Fielding figyelmét meghúzták

A négy leggyakorobban előforduló téma ebben az eredeti művekben, mindegyik a legkiválóbb példájával.

A műemlékek, amelyek Copley Fielding eredeti műveit őrzik

A 4 olyan múzeum, amely a legtöbb ezen az oldalon szereplő festményet őrzi.

Múzeum Város Copley Fielding művei Ebből a listából származó festmények
Birmingham Museum and Art Gallery, BirminghamBirmingham Museum and Art Gallery Birmingham 2 Lake Nemi with Pontine Marshes in the Background, Scottish Loch With Mountains
Art Gallery of New South Wales, SydneyArt Gallery of New South Wales Sydney 1 Dunster Castle, sunset
Yale Center for British Art, New HavenYale Center for British Art New Haven 1 A Scene On The Coast, Merionethshire
TyntesfieldTyntesfield 1 William Gibbs

Copley Fielding, egy aláírott festmény évtizedenként

Művek évtizedenként

Váassz ki egy évtizedet, hogy megnézhesd az azt meghatározó eredetiműveket.

Copley Fielding festményei: a galéria válaszai

Melyik Copley Fielding festmény a leghíresebb?Fedje fel a választ

Richmond hill, (1830). Ezt követi Ambelside, (1829) és Lake Nemi with Pontine Marshes in the Background (1837).

Hány éves volt Copley Fielding, amikor elkészítette a(t): Richmond hill,?Fedje fel a választ

43 éves: Richmond hill, 1830-ből származik, Copley Fielding pedig 1787-ben született.

Melyek Copley Fielding top 10 festménye?Fedje fel a választ

Richmond hill,, Ambelside,, Lake Nemi with Pontine Marshes in the Background, Scottish Loch With Mountains, Ubaldo and Carlo in the Enchanted Boat,, Byland Abbey,, A Herdsman With Cattle Above Rydal Water In The Lake District, Sunset, Sussex, Beached Fishing Vessels At Low Tide és Unloading the catch, whitby. A fenti rangsor a művek évszamarát és a múzeumát jelzi.

Hány műve született Copley Fielding nevére?Fedje fel a választ

Katalógusunkban 105 mű található Copley Fielding alkotótól, 1829 és 1851 év közötti időszakból.

Hol találhatóak Copley Fielding leghíresebb eredeti művei?Fedje fel a választ

Leginkább Birmingham Museum and Art Gallery (Birmingham), Art Gallery of New South Wales (Sydney) és Yale Center for British Art (New Haven) található. A fenti múzeumi táblázatban mindegyik felsorolásra került.

Mikor festette Copley Fielding le leghíresebb műveit?Fedje fel a választ

1830s alatt: a jelen laphonon található 89 műből 4 készült ebben az időszakban, köztük Richmond hill,.

Melyek Copley Fielding legkorábbi és legutóbbi híres művei?Fedje fel a választ

Ezen az oldalon a leghitelesebb Ambelside, (1829), a legutóbbi pedig Byland Abbey, (1851).

Mely témakörökkel foglaltaszkodott a legtöbbször Copley Fielding?Fedje fel a választ

Beach (11), Landscape (9) és Animals (8), a jelen oldalon található 89 műművészeti alkotás között.

Mely művészeti irányhoz tartozik Copley Fielding?Fedje fel a választ

Romanticism, ezen az oldalon található eredetiek alapján.

Mely Copley Fielding eredeti műveit őrzi a Birmingham Museum and Art Gallery?Fedje fel a választ

Lake Nemi with Pontine Marshes in the Background és Scottish Loch With Mountains: a Birmingham Museum and Art Gallery, Birmingham 2 művet őrzi ezen az oldalon.

Copley Fielding: a művész

The Visionary Brush of Anthony Vandyke Copley Fielding

In the golden age of British watercolor, few names resonate with as much elegance and technical prowess as Anthony Vandyke Copley Fielding. Born in 1787 in the industrious landscape of Sowerby, near Halifax, Fielding emerged from the rugged textures of Yorkshire to become a defining voice of the Victorian era. His life was a masterful composition of scientific precision and romantic sensibility, a duality that allowed him to capture not just the surface of the natural world, but its very soul. As a pupil of the esteemed John Varley, Fielding inherited a profound respect for the nuances of light and atmosphere, a foundation upon which he built a career that would eventually lead him to the presidency of the Royal Society of Watercolours.

Fielding’s artistic development was deeply intertwined with his intellectual pursuits. His time as a Fellow of Trinity College, Cambridge, provided him with a unique vantage point; here, the rigors of scientific inquiry met the fluidity of artistic expression. This intersection is perhaps most visible in his meticulous approach to anatomy and nature. Having engaged in the study of dissections, he brought an unparalleled understanding of structure to his work, whether rendering the powerful musculature of a subject in portraiture or the intricate skeletal details of flora and fauna. This scientific eye did not stifle his creativity but rather anchored it, allowing him to depict the elements—the crashing waves of a coastal storm or the gentle light of a sunset—with a realism that felt both grounded and transcendent.

A Mastery of Landscape and Marine Subjects

The breadth of Fielding’s oeuvre is nothing short of extraordinary, spanning from the tranquil valleys of the English Lake District to the dramatic, wind-swept coasts of Wales. He was a painter who understood the language of the weather. His landscapes often eschewed mere rustic charm in favor of an idealized, classical beauty inspired by the great Richard Wilson. In his hands, the British countryside became a stage for the sublime. One might find himself lost in the turbulent energy of A Scene on the Coast, Merionethshire - Storm Passing Off, where the tension between sea and sky is palpable, or find peace in the soft, luminous washes of his more pastoral views.

His fascination with marine subjects further solidified his reputation as a premier watercolorist. Fielding possessed a rare ability to capture the weight and movement of water, utilizing a sophisticated palette of inks, graphite, and watercolors to create depth and motion. His works often evoke a sense of profound openness, inviting the viewer to breathe in the salt spray or feel the sudden chill of an approaching gale. This mastery was not limited to the canvas; his influence extended into the realm of printmaking and teaching, where he shared his sophisticated techniques with a new generation of artists, ensuring that his legacy of atmospheric precision would endure.

Legacy and Historical Significance

The accolades bestowed upon Fielding during his lifetime serve as a testament to his standing among the giants of 19th-century art. His triumph at the Paris Salon of 1824, where he stood alongside luminaries such as John Constable and Richard Parkes Bonington, marked his arrival on the international stage. Furthermore, the high regard in which he was held by the influential critic John Ruskin underscores the lasting impact of his aesthetic vision. Fielding was more than a mere chronicler of scenery; he was an architect of atmosphere.

Today, the works of Anthony Vandyke Copley Fielding reside in some of the world's most prestigious institutions, including the Victoria & Albert Museum and the Yale Center for British Art. His contribution to the canon of British art remains significant because he bridged the gap between the meticulous observation of the Enlightenment and the emotive power of Romanticism. To look upon a Fielding painting is to witness a moment caught in the delicate balance between the tangible world and the infinite imagination, a legacy that continues to inspire collectors and art historians alike.