Ažurirano: новембар 2026 · rangirano prema našem koeficijentu popularnosti (pretrage, posete i porudžbine za svako delo) · 84 dela Вилијам Овен u našem katalogu
Ukratko
William Horsley (1801) je slika autora Вилијам Овен koja privlači najviše pažnje; original se nalazi u muzeju National Portrait Gallery, London. Nakon toga, pogled se seli na Frederick Ricketts (1793) i Portrait of Charles Townley in an Interior (1784). Među 84 dela umetnika Вилијам Овен u našem katalogu, ovih 83 su najpoznatija, od kojih je svako jedinstveni original predstavljen sa godinom nastanka, muzejom i razlogom zbog kojeg je i danas neprocenjivo.
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 BaronetMetropoliten музеј у Њујорку
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 Вилијам Овен | Slike iz ovog spiska |
|---|---|---|---|
 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 |
Birmingem | 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 |
Pitsburg | 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 finih umetnosti u Bostonu |
Boston | 1 | Thomas John Dibdin |
Izaberite deceniju da biste videli original koji je definiše.
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. Slede Frederick Ricketts (1793) i Portrait of Charles Townley in an Interior (1784).
32 godina: William Horsley datira iz 1801, a Вилијам Овен 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 pokazuje godinu i muzej za svako od njih.
Naš katalog sadrži 84 dela umetnika Вилијам Овен, datiranih od 1784 do 1815.
Većinom u National Portrait Gallery (London), National Maritime Museum (London) i Birmingham Museum and Art Gallery (Birmingem). Tabela muzeja iznad sadrži njih sve.
U 1810s: 3 od 83 dela na ovoj stranici nastalo je tada, od čega je Sir Joseph Radcliffe, 1st Bt (1744 -1818).
Na ovoj stranici, najstarije delo 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 dela na ovoj stranici.
Oil On Canvas, za 4 od 83 dela 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 čuva 6 dela sa ove stranice.
U raskošnom, često teatralnom tapiseriji britanske portretne umetnosti tokom džordžijanske ere, postojala je suptilna, introspektivnija nit koju je protočio Vilijam Oven. Rođen 1769. godine u istorijskom gradu Ludlou, u Šropshiru, Oven je bio slikar koji je izbegavao upadljivu bravuru svojih savremenika u korist duboke, psihološke složenosti. Njegovo putovanje od provincijalnih pejzaža mladosti do prestižnih dvorana Kraljevskog akademije svedočanstvo je urođenog talenta koji nije težio samo beleženju sličnosti, već hvatanju same suštine ljudskog duha. Iako su njegove rane godine oblikovale naučna atmosfera Itona i Oksforda, upravo je njegov prelazak u London 1rt86. godine zaista zapalio njegovu umetničku sudbinu, vodeći ga kroz zanatsko usavršavanje kod slikara kočija Čarlsa Katona pre nego što je uzdigao na vrhove britanskog umetničkog establishmenta.
Tok njegove karijere duboko je oblikovalo mentorstvo Ser Džošuea Rejnoldsa, titana britanske portretne umetnosti. Pod Rejnoldsovim vođstvom, Oven je naučio da upravlja složenostima svetlosti i senke, usvajajući stil koji je crpeo inspiraciju iz klasične elegancije venecijanskih majstora. Međutim, dok je Rejnolds često prihvatao grandiozno i dramatično, Oven je svoju snagu pronašao u suptilnosti. Ovladao je upotrebom čiaroskura—delikatne igre svetla i tame—kako bi oblikovao lica sa mekom, živopisnom preciznošću. Njegovo delo karakteriše izuzetna sposobnost prenošenja suptilnih izraza, prožimajući njegove subjekte osećajem tihe dostojanstvenosti i unutrašnjeg karaktera koji deluje neverovatno intimno čak i vekovima kasnije.
Kao član Kraljevske akademije, Oven je postao traženi hroničar britanske elite. Njegov portfolio služi kao prozor u društveno tkivo njegovog vremena, prikazujući portrete uticajnih figura kao što su Vilijam Pit Mlađi i budući kralj Georg IV. Ovo nisu bili samo vežbe statusa; Oven je svakom porudžbini pristupao sa pedantnom pažnjom posvećenom detaljima i posvećenošću psihološkoj istini. Bilo da je prikazivao čvrstu odlučnost državnika ili nežnu gracioznost dame, njegovi potezi četkicom ostali su profinjeni i svrsishodni.
Pored formalnih portreta aristokratije, Ovenov talenat protezao se i na žanrovsku slikarstvo, gde je istraživao nežnije, humanističke teme. Njegova dela su često beležila trenutke tihe kontemplacije ili jednostavnu, svakodnevnu lepotu, poput njegovog značajnog dela Brojanje kusurca. U ovim kompozicijama vidi se slikar duboko zaljubljen u nijanse svetlosti koja pada na tkaninu i meke teksture kože, stvarajući scene koje deluju istovremeno vanvremenski i duboko utemeljeno u stvarnosti. Ova svestranost omogućila mu je da premosti jaz između visokog društvenog portreta i poetskog posmatranja sitnijih, emotivnijih trenutaka života.
Iako istorija povremeno pamti upadljivije slikare kasnog 18. i ranog 19. veka, značaj Vilijama Ovena leži u njegovom doprinosu prefinjivanju britanske portretne umetnosti. Pomogao je u negovanju tradicije psihološkog realizma koji se udaljio od puke ornamentike ka dubljem istraživanju identiteta. Njegova sposobnost da balansira klasičnu obuku sa senzibilnim, modernim posmatranjem svojih subjekata osigurala mu je mesto među poštovanim majstorima svog doba.
Nasleđe Vilijama Ovena ostaje utisnuto u kolekcijama velikih institucija kao što su National Portrait Gallery i Tate. Studirati njegov rad danas znači iskusiti eleganciju džordžijanske ere kroz prizmu duboke empatije. Njegov život, iako relativno kratak, završio se 1825. godine, ostavljajući za sobom opus koji nastavlja da odjekuje u svakome koga pokrene moć dobro uhvaćenog pogleda ili tiha snaga pronađena u prelepo prikazanoj senci. On ostaje vitalna figura za razumevanje evolucije engleske umetnosti, predstavljajući period u kojem su tehničko majstorstvo i duševna, poetska vizija pronašli zajednički jezik.
