Oppdatert November 2026 · rangert etter vår popularitetsscore (søk, besøk og bestillinger for hvert verk) · 8 verk av James Howe Carse i vår katalog
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Oldham, Lancashire, from Glodwick Fields (1831) er maleriet av James Howe Carse som vekker mest oppmerksomhet; originalen befinner seg i Gallery Oldham, Oldham. Deretter går blikket til Opening Game of the Oldham Subscription Bowling Green, Frankhill, 1860 (1860) og Uppermill from Dobcross, Oldham, Lancashire (1858). Blant de 8 verkene til James Howe Carse i vår katalog, er disse 8 de mest kjente – hver og en et unikt originalverk presentert med sitt årstall, sitt museum og årsaken til at det består.
The oil on canvas painting titled Oldham, Lancashire, from Glodwick Fields was executed by the artist James Howe Carse. This work dates to about 1831. The composition captures a landscape where a rural foreground meets an industrializing background, showing the transition between natural terrain and urban development.
In this work, titled Opening Game of the Oldham Subscription Bowling Green, Frankhill, 1860, the artist James Howe Carse captures a specific moment of community engagement. The scene focuses on a group of people gathered on a field to participate in a game of cricket. It is a lively depiction of social interaction, showing individuals actively involved in the sport or observing from the periphery. The atmosphere suggests a shared…
This oil on canvas, titled Uppermill from Dobcross, Oldham, Lancashire, was executed by James Howe Carse in 1858. It offers a quiet glimpse into the landscape of the Lancashire region during the mid-nineteenth century. The work captures a specific topographical moment, documenting the relationship between the rolling terrain and the developing settlements of the area.
In this work, titled St Mary the Virgin, Deane Parish Church, Bolton, we find a quiet study of a specific architectural landmark. The painting depicts the St Mary the Virgin church located in Deane Parish, Bolton. It captures the presence of the building, characterized by its clock tower and a steeple, within its local setting. This scene offers a glimpse into the landscape of the area as it appeared during…
The oil on canvas titled Medlock Vale in 1866, Oldham, Lancashire was executed by the artist James Howe Carse. This work dates to 1866. It captures a specific topography of the Medlock Vale within the Oldham district of Lancashire. The scene is a quiet record of the English countryside during the mid-nineteenth century.
The scene unfolds in Nordens, Oldham, Lancashire, a quiet corner of the English landscape captured in 1866. Here, James Howe Carse presents a moment of rural stillness, where the earth and the sky meet in a soft, autumnal embrace. The work invites us into a specific time and place, where the pace of life follows the slow movement of shadows across a dirt path. It is a window into a…
De fire motivene som går igjen hyppigst i disse originalverkene, hver med sitt fremste eksempel.
De 3 museene som innehar flest av maleriene på denne siden.
| Museum | By | Verker av James Howe Carse | Malerier fra denne listen |
|---|---|---|---|
 Gallery Oldham |
Oldham | 1 | Oldham, Lancashire, from Glodwick Fields |
 Bolton Museum And Art Gallery |
Bolton | 1 | St Mary the Virgin, Deane Parish Church, Bolton |
 Art Gallery of New South Wales |
Sydney | 1 | Burragorang Valley near Picton |
Velg et tiår for å se originalverket som definerer det.
The oil on canvas painting titled Oldham, Lancashire, from Glodwick Fields was executed by the artist James Howe Carse. This work dates to about 1831. The composition captures a landscape where a rural foreground meets an industrializing background, showing the transition between natural terrain and urban development.
This oil on canvas, titled Uppermill from Dobcross, Oldham, Lancashire, was executed by James Howe Carse in 1858. It offers a quiet glimpse into the landscape of the Lancashire region during the mid-nineteenth century. The work captures a specific topographical moment, documenting the relationship between the rolling terrain and the developing settlements of the area.
In this work, titled Opening Game of the Oldham Subscription Bowling Green, Frankhill, 1860, the artist James Howe Carse captures a specific moment of community engagement. The scene focuses on a group of people gathered on a field to participate in a game of cricket. It is a lively depiction of social interaction, showing individuals actively involved in the sport or observing from the periphery. The atmosphere suggests a shared…
Oldham, Lancashire, from Glodwick Fields (1831), Gallery Oldham, Oldham. Deretter følger Opening Game of the Oldham Subscription Bowling Green, Frankhill, 1860 (1860) og Uppermill from Dobcross, Oldham, Lancashire (1858).
12 år gammel: Oldham, Lancashire, from Glodwick Fields er fra 1831, og James Howe Carse ble født i 1819.
Vår katalog inneholder 8 verk av James Howe Carse, datert fra 1831 til 1879.
Hovedsakelig i Gallery Oldham (Oldham), Bolton Museum And Art Gallery (Bolton) og Art Gallery of New South Wales (Sydney). Museumslisten ovenfor viser alle.
I 1860s: 4 av de 8 verkene på denne siden ble laget da, Opening Game of the Oldham Subscription Bowling Green, Frankhill, 1860 av dem.
På denne siden er det eldste Oldham, Lancashire, from Glodwick Fields (1831) og det nyeste Burragorang Valley near Picton (1879).
People (3), Grass (2) og Trees (2), fordelt på 8 verk på denne siden.
Oil On Canvas, for 4 av de 8 verkene på denne siden.
James Howe Carse (1819-1900) wasn’t merely a painter; he was an explorer of landscapes, a chronicler of evolving environments, and a pivotal figure in establishing a distinctly Australian artistic voice. Born in Edinburgh to a family steeped in artistic tradition – his father, Alexander Carse, was himself a respected Scottish landscape painter – Carse inherited both a technical skill and a deep appreciation for the evocative power of nature. His journey took him across continents, culminating in a prolific career documenting the dramatic shifts occurring within Scotland and, crucially, the burgeoning landscapes of colonial Australia.
Carse’s early artistic training was primarily focused on capturing the rugged beauty of his native Scotland. He exhibited in London during the 1860s, producing scenes of familiar Scottish vistas – rolling hills, lochs shrouded in mist, and the dramatic coastline. These works established a foundation built upon meticulous observation and a keen understanding of light and shadow, hallmarks that would later inform his Australian paintings. However, it was his relocation to Australia in the mid-1860s that truly defined his artistic trajectory. Drawn by the promise of adventure and the allure of a rapidly changing frontier, Carse arrived in Adelaide, marking the beginning of a transformative period.
Carse’s time in Australia wasn't characterized by a sudden stylistic shift, but rather a gradual adaptation to a new visual language. Initially, his paintings mirrored his Scottish work – detailed depictions of familiar landscapes. Yet, as he spent years traversing the colonies, particularly Victoria and Queensland, he began to incorporate elements specific to the Australian environment: the vastness of the bush, the unique flora and fauna, and the interplay between burgeoning industry and untouched wilderness. This period witnessed a remarkable evolution in his technique; he moved away from the highly polished surfaces of his earlier work towards looser brushstrokes and a greater emphasis on capturing atmosphere and mood.
His depictions of industrial landscapes – factories alongside rivers, mines nestled amongst hills – offered a poignant commentary on Australia’s rapid development. These weren't romanticized portrayals; Carse presented the realities of colonial life with an unflinching honesty, juxtaposing the progress of industry with the enduring beauty of the natural world. Notable works like “Oldham, Lancashire, from Glodwick Fields” and “St Mary the Virgin, Deane Parish Church, Bolton,” demonstrate this early ability to capture industrial growth amidst rural beauty.
Carse’s artistic reputation reached a significant milestone in 1876 when he secured a gold medal at the Intercolonial Exhibition held in Chicago. This prestigious award served as a powerful validation of his talent, catapulting him to international recognition. It was a testament not only to his technical skill but also to his ability to capture the essence of both Scottish and Australian landscapes with equal conviction. Returning to Australia, he continued to exhibit prolifically, gaining increasing acclaim for his evocative depictions of the bush and its inhabitants.
James Howe Carse’s legacy extends beyond his individual paintings. He played a crucial role in establishing landscape painting as a distinct genre within Australian art. His work served as an inspiration to subsequent generations of artists, encouraging them to explore the vastness and diversity of the Australian landscape. His ability to seamlessly blend technical skill with emotional resonance ensured that his paintings continue to resonate with viewers today, offering a captivating glimpse into a pivotal period in Australian history – a time of dramatic transformation and the forging of a unique national identity.
Carse’s final years were spent in Mosman, New South Wales, where he passed away in 1900. His paintings remain an invaluable record of this era, offering a poignant reminder of the enduring power of art to capture both the beauty and the complexities of the human experience within the context of a changing world.
