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Za ljubitelje galerije, najpoznatije delo umetnika David Koks Stariji je The Garden Terrace at Haddon Hall (1849), čiji se original nalazi u muzeju Ashmolean Museum of Art and Archaeology, Oksford. Cottage in Herefordshire (1820) i Crossing the Sands (1848) čine triju koju svako oko prepoznaje. Od 148 dela umetnika David Koks Stariji u našem katalogu, galerija u nastavku predstavlja 100 najpoznatijih dela, od kojih je svako originalno, sa navedenom godinom nastanka, muzejom i onim što ga čini jedinstvenim.
A stone staircase anchors the scene, its ornate railings climbing toward a massive tree that dominates the right side of the frame. Lush greenery spills over the steps, interrupted only by small bursts of red flowers at the base. Two figures move near the bottom, their forms softened by the light, appearing as mere shadows within the garden's depth. The sky above is a heavy, overcast veil, casting a soft,…
Cottage in Herefordshire by David Cox The Elder is a detailed pencil drawing created about 1820. The subject matter centers on a rural dwelling situated within a traditional English countryside setting. A quaint cottage occupies the central position of the composition, acting as the primary focal point. This structure is framed by the presence of trees and the contours of rolling hills, which establish a sense of enclosure around the…
A heavy, ominous sky hangs low over a vast, arid expanse, pressing down upon a caravan of travelers. The air feels thick with the scent of approaching rain or perhaps just the dry, suffocating dust of the dunes. Every movement seems labored as figures and horses struggle through the shifting sands, their forms silhouetted against a landscape that feels both immense and indifferent. The light filters through bruised, heavy clouds…
by David Cox The Elder, executed in 1842, captures a picturesque view of the River Wye valley in Wales. The work belongs to the Romantic movement of the 19th Century, focusing on the natural landscape. It presents the river, various trees, and the undulating terrain of the Wye valley.
In "Changing Pasture" by David Cox The Elder, we find ourselves looking upon a quiet, rural pastoral view. Painted about 1847, the scene centers on a solitary shepherd who stands amidst the expanse, contemplating his flock. The sheep are scattered across a rolling pasture, their presence grounding the vastness of the landscape. There is a stillness here, a sense of a moment caught between the movements of the clouds and…
Cottage on Dulwich Common, a Windy Day is a landscape painting by David Cox The Elder, executed about 1846. The work captures a quiet moment of everyday rural life, focusing on a domestic setting amidst the natural elements of the English countryside.
The sky hangs heavy with the weight of an impending storm, a swirling mass of dark, bruised clouds that seem to churn across the canvas. Below this turbulent ceiling, a rugged coastline stretches into the distance, its edges softened by a creeping mist that blurs the line between land and sea. The air feels thick, charged with the salt and dampness of a restless ocean. A small group of figures,…
Two figures sit upon the grassy bank, their attention fixed on the slow movement of the water. The river flows past them, a silver ribbon cutting through a landscape of muted greens and earthy browns. Nearby, a herd of cattle grazes in the middle ground, their forms softened by the hazy light of an overcast sky. Above, swallows skim low through the air, tracing invisible paths under an expansive, pale…
Landscape with Man on a Horse is an oil painting created by David Cox The Elder. The work is dated 1849. This small-scale piece focuses its subject matter on rural activity, depicting a rider on horseback alongside a seated figure within a countryside setting.
The Shepherd Return of the Flock emerges from the brush of David Cox The Elder, a painter who captures the quiet pulse of the English countryside. This work, dated about 1850, finds its origins in the life of an artist born on April 29th, 1783, in Deritend, Birmingham. The scene unfolds as a moment of rural movement, where the shepherd and his flock move through a landscape that feels alive…
Moorland Road1851
12
The Church at Betws y Coed, Snowdonia1851
13
The Skirts of the Forest1855 · Birmingham Museum and Art Gallery
14
Landscape with Cattle by a Pool1850 · Fitzwilliam College
15
The Long Gallery, Hardwick Hall, Derbyshire1840 · Birmingham Museums And Art Gallery
16
The Vale of Clwyd1849 · Fitzwilliam College
17
Fishing Boats, Hastings1813 · Birmingham Museums And Art Gallery
18
All Saints' Church, Hastings1812 · Birmingham Museum and Art Gallery
19
Lake Scene, North Wales1811 · Birmingham Museums And Art Gallery
20
Gipsies on Dulwich Common1808 · Birmingham Museums And Art Gallery
21
Landscape with a Man Washing His Feet at a Fountain after Poissin1821 · Yale Center for British Art
22
Hay on Wye1824 · Birmingham Museums And Art Gallery
23
Junction of the Severn and the Wye with Chepstow in the Distance1830 · Yale Center for British Art
24
The Hayfield1833 · Rhode Island School of Design Museum of Art
25
The Great Hall, Haddon1832 · Birmingham Museums And Art Gallery
26
The Farmstead1848 · Birmingham Museums And Art Gallery
27
The Welsh Funeral1848 · Birmingham Museum and Art Gallery
28
Study of a Donkey1843 · Birmingham Museum and Art Gallery
29
Study of Fish, Skate and Cod1842 · Birmingham Museum and Art Gallery
30
Wind, Rain and Sunshine1845
31
Welsh Shepherds1841 · Birmingham Museum and Art Gallery
32
Waiting for the Ferry1845 · Birmingham Museum and Art Gallery
33
Windermere1844 · Birmingham Museum and Art Gallery
34
Calais Pier1844
35
Landscape with Haymakers1848 · Bristol Museum And Art Gallery
36
Cottage Interior, Trossavon near Betws y Coed1847 · Birmingham Museum and Art Gallery
37
Pandy Mill1843 · Laing Art Gallery
38
The Old Mill at Bettws y Coed1847
39
Flying the Kite, a Windy Day1851 · Walker Art Gallery
40
On the Sands1851 · Birmingham Museum and Art Gallery
41
Market Gardeners1851 · Birmingham Museums And Art Gallery
42
Landscape with Man on a Horse1849 · Manchester Art Gallery
43
Crossing the Moor1851
44
The Shrimpers1853 · Birmingham Museum and Art Gallery
45
Dudley Castle1853
46
Going to the Hayfield1849 · Birmingham Museums And Art Gallery
47
Haymaking near Conway1853
48
Dudley Castle1853 · Manchester Art Gallery
49
Evening1853 · Birmingham Museums And Art Gallery
50
Haymaking near Conway1853 · Manchester Art Gallery
51
Girl in a Pinafore1849 · Yale Center for British Art
52
Driving Cattle1849 · Birmingham Museums And Art Gallery
53
Crossing the Ford1849
54
Keep the Left Road1854 · Birmingham Museums And Art Gallery
55
The Skylark1849 · Birmingham Museum and Art Gallery
56
A Mountain Torrent1853
57
Darley Churchyard, Derbyshire1850
58
Moonlight Landscape1849 · Yale Center for British Art
59
The Missing Lamb1853 · Birmingham Museums And Art Gallery
60
Kilgerran Castle, Pembrokeshire1852 · Birmingham Museums And Art Gallery
61
Tending Sheep, Betws y Coed1849 · Birmingham Museum and Art Gallery
62
The Road to the Mill1849
63
Lane near Rowley Regis1852
64
Kilgerran Castle, Pembrokeshire1852 · Birmingham Museum and Art Gallery
65
Going to the Hayfield1852 · Victoria Art Gallery
66
A Breezy Day Going to the Hayfield1852
67
Pont y Pair, Conwy1851 · New Walk Museum - Art Gallery
68
Landscape with a Windmill1852
69
Bolton Abbey1850 · Royal Birmingham Society of Artists
70
Lane near Rowley Regis1852
71
A Welsh Funeral, Bettws Church1852
72
An Old Woman Asleep1859 · Birmingham Museum and Art Gallery
73
A Farm at Betws y Coed1856 · Birmingham Museum and Art Gallery
74
A Road by a Common, Windy Day1859
75
The Wind on the Heath1859 · Yale Center for British Art
76
Carrying Vetches1850 · National Trust
77
On the Lledr1852 · Wolverhampton Art Gallery
78
The GladeAtkinson Art Gallery Collection
79
Fisherman Riding on the Sands
80
Kidwelly Castle
81
Riverside Path
82
The Wayfarers
83
Haymaking on Snowdon1847 · Towneley Hall Art Gallery And Museum
84
Coast Scene near Hastings1812 · Fitzwilliam College
85
The Church, Betws y Coed1856 · Birmingham Museum and Art Gallery
86
Kenilworth Castle1807 · Birmingham Museums And Art Gallery
87
Counting the Flock1852 · Wolverhampton Art Gallery
88
Seascape
89
KenilworthMusée Municipal A.g. Poulain de Vernon
90
Landscape with Cottages
91
Distant View of Raby Castle, DurhamGovernment Art Collection
92
The Gathering of the FlocksManchester Art Gallery
93
Moorland Landscape Shepherd and SheepAmgueddfa Cymru
94
Menlough Castle, Galway, Ireland
95
Bettys y Coed
96
The Old Mill
97
LandscapeSheffield City Art Galleries
98
Greenfield House, HarorneBirmingham Museums And Art Gallery
99
Crossing the Heath
100
Fortress on a Rockmr Straw's House
Četiri teme koje se najčešće ponavljaju u ovim originalima, svaka sa svojim vrhunskim primerom.
8 muzeja u kojima se nalazi najviše slika sa ove stranice.
| Muzej | Grad | Radovi umetnika David Koks Stariji | Slike iz ovog spiska |
|---|---|---|---|
 Birmingham Museum and Art Gallery |
Birmingem | 20 | Crossing the Sands, Changing Pasture, The Peat Gatherers |
 Birmingham Museums And Art Gallery |
Birmingem | 16 | The Long Gallery, Hardwick Hall, Derbyshire, Fishing Boats, Hastings, Lake Scene, North Wales |
 Yale Center for British Art |
New Haven | 6 | Cottage in Herefordshire, Landscape with a Man Washing His Feet at a Fountain after Poissin, Junction of the Severn and the Wye with Chepstow in the Distance |
 Manchester Art Gallery |
Mančester | 4 | Landscape with Man on a Horse, Dudley Castle, Haymaking near Conway |
 Wolverhampton Art Gallery |
Wolverhampton | 4 | Cottage on Dulwich Common, a Windy Day, On the Lledr, Counting the Flock |
 Fitzwilliam College |
Cambridge | 3 | Landscape with Cattle by a Pool, The Vale of Clwyd, Coast Scene near Hastings |
 Amgueddfa Cymru |
Cardiff | 2 | Moorland Landscape Shepherd and Sheep |
 Ashmolean Museum of Art and Archaeology |
Oksford | 1 | The Garden Terrace at Haddon Hall |
Izaberite deceniju da biste videli original koji je definiše.
Cottage in Herefordshire by David Cox The Elder is a detailed pencil drawing created about 1820. The subject matter centers on a rural dwelling situated within a traditional English countryside setting. A quaint cottage occupies the central position of the composition, acting as the primary focal point. This structure is framed by the presence of trees and the contours of rolling hills, which establish a sense of enclosure around the…
A stone staircase anchors the scene, its ornate railings climbing toward a massive tree that dominates the right side of the frame. Lush greenery spills over the steps, interrupted only by small bursts of red flowers at the base. Two figures move near the bottom, their forms softened by the light, appearing as mere shadows within the garden's depth. The sky above is a heavy, overcast veil, casting a soft,…
The sky hangs heavy with the weight of an impending storm, a swirling mass of dark, bruised clouds that seem to churn across the canvas. Below this turbulent ceiling, a rugged coastline stretches into the distance, its edges softened by a creeping mist that blurs the line between land and sea. The air feels thick, charged with the salt and dampness of a restless ocean. A small group of figures,…
The Garden Terrace at Haddon Hall (1849), Ashmolean Museum of Art and Archaeology, Oksford. Slede Cottage in Herefordshire (1820) i Crossing the Sands (1848).
66 godina: The Garden Terrace at Haddon Hall datira iz 1849, a David Koks Stariji je rođen/a 1783.
The Garden Terrace at Haddon Hall, Cottage in Herefordshire, Crossing the Sands, The Wyndcliffe, River Wye, Changing Pasture, Cottage on Dulwich Common, a Windy Day, The Peat Gatherers, Boys Fishing, Landscape with Man on a Horse i The Shepherd Return of the Flock. Gornji rang pokazuje godinu i muzej za svako od njih.
Naš katalog sadrži 148 dela umetnika David Koks Stariji, datiranih od 1807 do 1859.
Većinom u Birmingham Museum and Art Gallery (Birmingem), Birmingham Museums And Art Gallery (Birmingem) i Yale Center for British Art (New Haven). Tabela muzeja iznad sadrži njih sve.
U 1850s: 38 od 100 dela na ovoj stranici nastalo je tada, od čega je The Peat Gatherers.
Na ovoj stranici, najstarije delo je iz Kenilworth Castle (1807), a najnovije iz An Old Woman Asleep (1859).
Landscape (11), British countryside (11) i Atmospheric (6), kroz svih 100 dela na ovoj stranici.
Oil On Canvas, za 14 od 100 dela na ovoj stranici.
Romanticism, sudeći po originalima na ovoj stranici.
Crossing the Sands, Changing Pasture i The Peat Gatherers: Birmingham Museum and Art Gallery, Birmingem čuva 20 dela sa ove stranice.
Dejvid Koks, rođen 29. aprila 1783. godine u industrijskom srcu Deritenda u Birmingemu, izrastao je iz skromnih početaka koji su duboko oblikovali njegov umetnički vid. Njegov otac, kovač i metalurg, ugradio mu je radnu etiku koja će ga služiti celog života, iako se mladin krhki građeni nije uklapao u rad u kovačnici. Počeo je kao šegrt proizvođača sitnica – minijaturnih portreta na kutijama za duvan i lakiranim kopčama – i ubrzo je pokazao talenat za slikanje, dar koji je negovala majka „superiornog intelekta“ i tihe odlučnosti. Ovo rano izlaganje nežnim detaljima kasnije će pronaći svoj izraz u njegovim remek-delima u vodenim bojama.
Sam Birmingem je u to vreme bio žarište umetničke aktivnosti, ponosajući se privatnim akademijama koje su odgovarale potrebama rastuće industrije, ali i negujući specifičnu školu pejzažnog slikarstva. Koks je prvo učio kod Džozefa Barbera, a potom kod Alberta Fildera, mada je njegov šegrtstvo naglo prekinuto tragičnom smrću Fildera. Kratko iskustvo kao scenograf u pozorištu Vilijama Mekredija pružilo mu je dragocenu osnovu za razumevanje atmosferske perspektive i kompozicije, veština koje će kasnije usavršiti u svojim prikazima prirodnog sveta.
Godine 1804. Koks je krenuo u London u potrazi za profesionalnim prilikama. Iako se početni posao u Amfiteatru Filipa Astlija nije ostvario onako kako je planirao, ovaj period je označio ključnu prekretnicu. Posvetio se slikanju akvarela, izlažući svoje radove i postepeno gradići reputaciju. Brak sa Meri Rag od 1905. godine dodatno je stabilizovao njegov život, a par se nastanio u Dalviču. Iste godine usledilo je prvo od mnogih putovanja u Vels, uz Čarlsa Barbera, što mu je pružilo sirov materijal za njegove sve sofisticiranije pejzaže.
Osnivanje Udruženja za akvarel 1805. godine bilo je presudno. Iako odmah nije primljen kao član, Koks se duboko uključio u njegove aktivnosti i konačno stupio u članstvo 1813. godine. Ovo udruženje mu je pružilo platformu za prikazivanje rada i povezivanje sa kolegama umetnicima, učvrstujući njegovo mesto unutar tadašnje bujne britanske umetničke scene.
Koksov umetnički razvoj karakterisala je nepokolebljiva posvećenost hvatanju suštine britanske ruralne zemlje. On je izbegavao velike istorijske narative ili klasične alegorije, umesto toga se fokusirao na lepotu seoskih pejzaža – pustinja, šuma, obala reka i morskih scena. Njegovi rani akvareli prepoznatljivi su po nežnoj preciznosti i pedantnom detalju, što odražava pažljivo posmatranom prirodu. Međutim, ubrzo je prevazišao puko topografsko predstavljanje, prožimajući svoja dela emotivnim kvalitetom koji je duboko odjekivao kod publike.
Postao je čuven po svojoj sposobnosti da prenese atmosferu – igru svetlosti i senke, suptilne nijanse vremena i osećaj uranjanja u prirodni svet. Njegova tehnika uključivala je jedinstvenu kombinaciju pažljivog planiranja i spontanog izvođenja, često radeći brzo en plein air kako bi uhvatio prolazne trenutke lepote. Kasnije u životu, sve više se okretao uljanom slikarstvu, stvarajući preko 300 platna koja se danas priznaju kao neka od njegovih najvećih dostignuća – iako su tokom njegovog veka bila manje cenjena.
Uticaj Dejvida Koksa na britansku umetnost je dubok. On stoji kao ključna figura Birmingemske škole, premošćujući jaz između topografskog pejzažnog slikarstva i emotivnijeg pristupa romantizma. Njegov rad je nagovestio impresionizam svojim naglaskom na hvatanje prolaznih trenutaka svetlosti i atmosfere, iako je ostao čvrsto ukorenjen u tradiciji engleskog akvarela.
Uprkos periodima finansijskih poteškoća i relativne nepoznatice tokom života, Koksovo nasleđe opstaje. Preminuo je 7. juna 1859. godine, ostavivši za sobom korpus dela koji i danas očarava publiku svojom lepotom, osetljivošću i dubokom vezom sa prirodnim svetom. Njegova slika nude bezvremenski uvid u srce ruralne Engleske, podsećajući nas na trajnu moć umetnosti da izazove emocije i proslavi jednostavna radosti života.
