Kasım 2026 tarihinde güncellendi · popülerlik puanımıza göre sıralanmıştır (her bir eser için aramalar, ziyaretler ve siparişler) · 1 eser Josephus Kendrick kataloğumuzda
Özetle
Carl Maria von Weber (1826), en çok ilgi çeken Josephus Kendrick tablosudur; orijinali London, Royal College of Music Museum bünyesinde bulunmaktadır. Kataloğumuzdaki Josephus Kendrick imzalı 1 eser arasından seçilen bu 1 eser; yapıldığı yıl, sergilendiği müze ve zamana meydan okuma nedenleriyle birlikte sunulan en ünlü ve her biri eşsiz orijinal çalışmalardır.
The marble bust of the composer Carl Maria von Weber gazes out from the sculptor Josephus Kendrick's hand, capturing a moment of quiet dignity. Created about 1826, this work presents the subject in a head and shoulders view, resting upon a circular base. The stone carries the likeness of the man who shaped the musical landscape of his era, frozen in a permanent, graceful stillness.
Bu sayfadaki tabloların en büyük kısmına ev sahipliği yapan müze.
| Müze | Şehir | Josephus Kendrick Eserleri | Bu listedeki tablolar |
|---|---|---|---|
 Royal College of Music Museum |
London | 1 | Carl Maria von Weber |
Burada gösterilen tüm tarihli Josephus Kendrick orijinalleri tek bir yıla, 1826 yılına aittir: Ünlü olma sırasına göre sıralanmışlardır.
Orijinallerini görmek için bir yıl seçin.
The marble bust of the composer Carl Maria von Weber gazes out from the sculptor Josephus Kendrick's hand, capturing a moment of quiet dignity. Created about 1826, this work presents the subject in a head and shoulders view, resting upon a circular base. The stone carries the likeness of the man who shaped the musical landscape of his era, frozen in a permanent, graceful stillness.
Carl Maria von Weber (1826)
71 yaşında: Carl Maria von Weber 1826 yılına aittir ve Josephus Kendrick 1755 yılında doğmuştur.
Kataloğumuzda Josephus Kendrick tarafından yapılmış 1 eser bulunmaktadır.
Çoğunlukla Royal College of Music Museum (London) bünyesinde yer almaktadır. Yukarıdaki müze tablosu tümünü listelemektedir.
Born in London in 1755, Josephus Kendrick’s life was a fascinating tapestry woven from threads of artistic ambition, musical pursuits, and familial legacy. Initially attending the Royal Academy Schools in 1771, he embarked on a career as a sculptor that would ultimately see him recognized for his skill in neoclassical styles and his ability to capture both historical grandeur and intimate human emotion. Kendrick’s journey wasn't solely defined by formal training; he was also documented as an alto singer in Doane’s Musical Directory of 1794, suggesting a well-rounded artistic sensibility that extended beyond the purely visual.
Kendrick’s early career laid the foundation for his later achievements. He quickly established himself within the London art scene, demonstrating a particular aptitude for historical reliefs – monumental sculptures intended to depict scenes from the past. This focus on narrative and commemoration would become a hallmark of his work. In 1813, a pivotal moment arrived when he received the gold medal and fifty guineas from the Royal Academy for “the best historical basso relievo,” a testament to his growing reputation and technical mastery. This award underscored the appreciation for his ability to translate complex historical narratives into compelling sculptural forms.
Kendrick’s life was deeply intertwined with that of his family, creating a remarkable artistic dynasty within London's creative circles. His wife, Miss Crow of Wateringbury, and their children – Josephia Jane Mary Kendrick (an accomplished harpist), Emma Kendrick (a miniaturist celebrated for her delicate portraits), and Josephus John Pinnix Kendrick (another sculptor) – all contributed to the family’s artistic output. Emma Kendrick, in particular, garnered significant recognition within the Society of Arts, exhibiting her work at prestigious locations like the Royal Academy between 1811 and 1840. Her miniature paintings showcased a remarkable level of detail and technical skill, reflecting a shared artistic heritage with her father.
The influence of Kendrick’s family extended beyond mere collaboration; it fostered an environment of creative exchange and mutual support. Josephus John Pinnix Kendrick, his son, continued the family tradition as a sculptor, further solidifying the Kendrick name within the British art world. The legacy of this artistic lineage is particularly evident in their shared interest in classical forms and techniques, reflecting the prevailing aesthetic sensibilities of the early 19th century.
Kendrick’s sculptural output reveals a sophisticated understanding of neoclassical principles, characterized by balanced compositions, idealized figures, and meticulous attention to detail. His work frequently drew inspiration from classical antiquity, evident in his depictions of historical figures and events. A particularly noteworthy example is the monument he created for Brigadier-General Robert Ross at St Paul's Cathedral, showcasing his ability to capture both heroic stature and subtle emotional nuance.
Beyond monumental works, Kendrick also produced busts – a genre that allowed him to explore the intricacies of human anatomy and expression. The bust of Colonel Sir William Myers, commissioned in 1811, exemplifies this skill, demonstrating a remarkable likeness and a sensitivity to the subject’s character. His work often combined historical accuracy with an appreciation for beauty and elegance, reflecting the artistic ideals of his time.
Following his success at the Royal Academy, Kendrick relocated to Portsmouth around 1805. Despite this shift in location, he continued to produce significant works throughout his career. In 1832, at the age of 77, Josephus Kendrick passed away, leaving behind a substantial body of work that continues to be studied and appreciated today.
Kendrick’s contributions to British sculpture are considerable. He played a key role in shaping the neoclassical aesthetic within the country, bridging the gap between grand historical reliefs and intimate portraiture. His legacy is preserved through his sculptures, which can be found in institutions such as the Ashmolean Museum in Oxford and St Paul's Cathedral, offering enduring insights into the artistic landscape of 18th and 19th-century England. His work serves as a reminder of the vibrant artistic community that flourished in London during this period.
