更新于 November 2026 · 基于我们的流行度评分排名（每件作品的搜索量、访问量及订单量） · 244 件 乔治·弗雷德里克·沃茨 作品收录于我们的目录中
简而言之
希望 (1886) 是 乔治·弗雷德里克·沃茨 最受瞩目的画作；原作收藏于 伦敦 的 泰特不列顛美术馆。 随后，目光会移向 Ellen Terry (1864) 和 The Minotaur (1885)。 在 乔治·弗雷德里克·沃茨 的 244 件作品中，这 100 件最为闻名；每一件都是独一无二的原作，并附有创作年份、馆藏机构及其经久不衰的原因。
在《希望》的核心之处，坐落着一位被面纱笼罩的女性，面纱遮住了她的容颜，却掩盖不住她身上散发出的那股不容忽视的内在力量。她坐落在一个球体之上——这不仅是世俗琐事与生存重担的有力象征——身体正以一种优雅而细腻的姿态，向着那把破旧的里拉琴微微前倾。她的姿态本身便蕴含着无尽的深意：那并非狂乱的行动或绝望的渴求，而是一种耐心的倾听，一种对残存之物的静默吸收。她的双手在脸前交叠，既像是在进行深刻的内省，又像是一种保护性的姿态，仿佛在试图将自己与周围那令人窒息的寂静隔绝开来。这并非一场对希望的凯旋式宣言，而是一种对希望之可能性的迟疑、甚至近乎脆弱的接纳。艺术家刻意避开了对苦难的浪漫化处理，转而呈现出一种对脆弱性既原始又诚实的描绘——这是一种深刻的认知：希望并不总是喧嚣或热烈的，它往往是在灵魂最幽静的角落里，发出的轻声细语。
The seventeen-year-old Ellen Terry sits in profile, her gaze fixed upon a quiet internal struggle. In one hand, she holds violets, their scent subtle and sweet; in the other, camellias, which offer a lush appearance but lack fragrance. This tension between the fragrant and the merely beautiful reflects a deeper meditation on virtue. The composition is tightly cropped, focusing on her face, neck, and clasped hands against a dark, heavy…
In the hauntingly beautiful oil on canvas titled The Minotaur, George Frederic Watts invites us into a world where ancient legend bleeds into Victorian reality. Painted in 1885, this masterpiece transcends a mere retelling of Greek mythology; it is a profound psychological study captured through the lens of Symbolism. The subject, the monstrous creature with the body of a man and the head of a bull, does not appear as…
The air feels heavy with the weight of an impending storm as we gaze upon this monumental scene. A group of figures moves through a turbulent landscape, their bodies etched with a sense of solemn purpose. They walk toward the edge of a vast body of water, their postures caught in a delicate balance between apprehension and a quiet, stubborn determination. Behind them, the rugged peaks of Dartmoor rise like…
After the Deluge is a Symbolist oil painting by George Frederic Watts. The work depicts a scene from the story of Noah's Flood, specifically the moment when Noah opens the window of the Ark to see that the rain has stopped, though the floodwaters have not yet subsided. The composition is a stylized seascape dominated by a bright sunburst that breaks through the clouds, with light projecting beyond the edges…
The Weight of Thought Portrait of (William) Edward Hartpole Lecky In this monochrome study, we find ourselves in the presence of a man deeply immersed in the quiet labor of the mind. The subject, an Irish historian and political theorist, is rendered with a somber dignity that suggests a life spent navigating the complexities of the eighteenth century. He is positioned slightly off-center, his gaze directed toward the right of…
A mountain of white hair and beard dominates the frame. It is a landscape of frost against the deep, dark shadows of the background. The subject, Theophilos Kairis, sits in a quiet, centered stillness. His skin is a map of fine lines and weathered textures, etched by years of thought and struggle. Light falls from the upper left, catching the ridge of a forehead and the deep-set hollows of the…
Sir Charles Wentworth Dilke, 2nd Bt, is the subject of this 1873 oil portrait by George Frederic Watts. The sitter was a prominent English Liberal and reformist politician. He was also the husband of the feminist art historian Emilia Dilke.
A muscular young man grips a long wooden staff, his gaze fixed upon the viewer with an intensity that feels like a physical weight. He is draped in reddish-orange fabric that catches a harsh, theatrical light. Beside him, a woman is shrouded in heavy, white classical drapery, her eyes cast downward in a gesture of resignation or mourning. Above them, the sky is a turbulent mass of clouds, from which…
A young girl turns her head in a soft profile, her gaze directed away from the viewer toward an unseen horizon. She is framed by the deep, dark textures of holly leaves, their sharp edges softened by a painterly touch. Her hair, a cascade of strawberry-blonde waves, catches a gentle light that traces the curve of her cheek and the delicate line of her neck. A dark, beaded necklace rests…
Portrait of Sir Edward Burne-Jones (1833-1898 )1869 · 伯明翰博物馆与美术馆
12
George Douglas Campbell, 8th Duke of Argyll1860 · 国家肖像美术馆
13
Robert Browning1866 · 国家肖像美术馆
14
John Singleton Copley, Baron Lyndhurst1862 · 国家肖像美术馆
15
Sir Anthony Panizzi1847 · 国家肖像美术馆
16
Robert Lowe, 1st Viscount Sherbrooke1874 · 国家肖像美术馆
17
Stopford Augustus Brooke1871 · 国家肖像美术馆
18
William Ewart Gladstone1859 · 国家肖像美术馆
19
Edmund Lyons, 1st Baron Lyons1856 · 国家肖像美术馆
20
Caroline Muriel Callander, later Mrs Baird (c 1861 - 1932)1862 · 苏格兰国家美术馆
21
A Lamplight Study: Herr Joachim1868 · 芝加哥艺术学院
22
Sir Henry Taylor1868 · 国家肖像美术馆
23
Josephine Elizabeth Butler (née Grey)1895 · 国家肖像美术馆
24
Cecil John Rhodes1898 · 国家肖像美术馆
25
John William Spencer Brownlow Egerton-Cust, 2nd Earl Brownlow (1842-1867)1865 · Belton House
26
Anthony Ashley-Cooper, 7th Earl of Shaftesbury1862 · 国家肖像美术馆
27
John Laird Mair Lawrence, 1st Baron Lawrence1862 · 国家肖像美术馆
28
Francis Napier, 10th Baron Napier and 1st Baron Ettrick, 1819 - 1898. Diplomat and Governor of Madras1866 · 苏格兰国家肖像画廊
29
George Frederick Samuel Robinson, 1st Marquess of Ripon and 3rd Earl de Grey1895 · 国家肖像美术馆
30
Edward Robert Bulwer-Lytton, 1st Earl of Lytton1884 · 国家肖像美术馆
31
George Frederic Watts1860 · 国家肖像美术馆
32
Mischief1878 · 苏格兰国家美术馆
33
Dante Gabriel Rossetti1871 · 国家肖像美术馆
34
Julia Margaret Cameron1850 · 国家肖像美术馆
35
Frederick Temple Hamilton-Temple-Blackwood, 1st Marquess of Dufferin and Ava1881 · 国家肖像美术馆
36
Portrait of a Man1881 · 哈佛艺术博物馆
37
A Roman Lady1891 · 伯明翰博物馆与美术馆
38
Little Red Riding Hood1890 · 伯明翰博物馆与美术馆
39
Study Of Gennaro, A Venetian Nobleman1865 · 伯明翰博物馆与美术馆
40
Alfred, Lord Tennyson1863 · 国家肖像美术馆
41
Aspiration1866 · 伯明翰博物馆与美术馆
42
Samuel Augustus Barnett1887 · 国家肖像美术馆
43
Henry Hart Milman1863 · 国家肖像美术馆
44
Ruth and Boaz1836
45
Miss Mary Kirkpatrick Brunton1841
46
Nymphs and Satyrs1840
47
The Golden Age1840
48
A Story from Boccaccio1845
49
Robert Gascoyne-Cecil, 3rd Marquess of Salisbury1882 · 国家肖像美术馆
50
Portrait of Mrs Caroline Norton (née Sheridan), (1808-1877), Poet1850 · 爱尔兰国家美术馆
51
Edith Villiers, later Countess of Lytton who was Vicereine of India1862
52
Portrait of a Young Man1870 · 加拿大国家美术馆
53
Sir Richard Charles Francis Christian Meade, 3rd Earl of Clanwilliam (1795-1879)1870 · Uppark
54!['Watchman, What of the Night?' (Dame Ellen Terry [1847-1928] and previously called Joan of Arc by Watts) (1867) 由 乔治·弗雷德里克·沃茨](/media/artworks/images-thumb/32/96/3296287db67f0cb42a556aa5ac4f2031.jpg)
'Watchman, What of the Night?' (Dame Ellen Terry [1847-1928] and previously called Joan of Arc by Watts)1867
55
Henry Wyndham, 2nd Baron Leconfield (1830-1901)1867 · Petworth House
56
Adelbert Wellington Brownlow Cust, 3rd Earl Brownlow, GCVO, PC, MP (1844-1921)1868 · Belton House
57
Admiral Henry John Chetwynd, 1803-68, 18th Earl of Shrewsbury1865 · 国家海事博物馆
58
Algernon Charles Swinburne1867 · 国家肖像美术馆
59
Study of a Lady leaning on a Chair1872
60
Sir William George Armstrong, 1st Baron Armstrong of Cragside (1810-1900)1878 · Cragside
61
Orpheus And Eurydice1872
62
Laura Gurney (later Lady Troubridge)1880 · Watts Gallery – Artists' Village
63
Time, Death, and Judgement1884 · 加拿大国家美术馆
64
Love and Death1885
65
Love and Life1884
66
Self Portrait1882
67
Study of 'Idle Child of Fancy'1885
68
John William Spencer Brownlow Egerton-Cust, 2nd Earl Brownlow (1842-1867)1886 · Belton House
69
Frederick Sleigh Roberts, 1st Earl Roberts1898 · 国家肖像美术馆
70
Hope1891 · 耶鲁英国艺术中心
71
Ganymede1888
72
Friedrich Max-Müller1894 · 国家肖像美术馆
73
Escaped1895 · 哈佛艺术博物馆
74
Alice1883 · 新南威爾士藝術畫廊
75
Time Death and Judgement1900
76
George Frederic Watts1879 · 国家肖像美术馆
77
Sir Leslie Stephen1878 · 国家肖像美术馆
78
George Meredith1893 · 国家肖像美术馆
79
The All-Pervading1887 · 泰特不列顛美术馆
80
John Passmore Edwards1894 · 国家肖像美术馆
81
The Happy Warrior1884 · 巴伐利亚州绘画收藏馆
82
Sir (William Matthew) Flinders Petrie1900 · 国家肖像美术馆
83
William Morris1870 · 国家肖像美术馆
84
Stratford Canning, Viscount Stratford de Redcliffe1856 · 国家肖像美术馆
85
Sir Andrew Clark, 1st Bt1893 · 国家肖像美术馆
86
John Russell, 1st Earl Russell1851 · 国家肖像美术馆
87
Charles Booth1901 · 国家肖像美术馆
88
Love and Death1901 · 南澳大利亚美术馆
89
Jonah1894 · 泰特不列顛美术馆
90
Walter Crane1891 · 国家肖像美术馆
91
Hope1886 · 泰特美术馆
92
Britomart1877 · 伯明翰博物馆与美术馆
93
The Three Graces
94
Orpheus and Eurydice 1
95
Miss Georgina Treherne
96
Endymion1872
97
Frederic Leighton, Baron Leighton1881 · 国家肖像美术馆
98
Artemis and Hyperion新南威爾士藝術畫廊
99
Panoramic Landscape with a Farmhouse1845 · 国家美术馆
100
Sir John Peter Grant国家肖像美术馆
这些原作中反复出现的四个主题，各有一个最杰出的范例。
收藏了本页中大部分画作的 8 家博物馆。
| 博物馆 | 城市 | 乔治·弗雷德里克·沃茨 的作品 | 此列表中的画作 |
|---|---|---|---|
 国家肖像美术馆 |
伦敦 | 47 | Ellen Terry, (William) Edward Hartpole Lecky, Sir Charles Wentworth Dilke, 2nd Bt |
 伯明翰博物馆与美术馆 |
伯明翰 | 6 | Portrait of Sir Edward Burne-Jones (1833-1898 ), A Roman Lady, Little Red Riding Hood |
 泰特不列顛美术馆 |
伦敦 | 8 | 希望, Chaos, The All-Pervading |
 哈佛艺术博物馆 |
剑桥 | 7 | Virginia Dalrymple (1850-1922), Portrait of a Man, Escaped |
 苏格兰国家美术馆 |
爱丁堡 | 3 | Theophilos Kairis (1784 - 1853), Caroline Muriel Callander, later Mrs Baird (c 1861 - 1932), Mischief |
 Belton House |
格兰瑟姆 | 3 | John William Spencer Brownlow Egerton-Cust, 2nd Earl Brownlow (1842-1867), Adelbert Wellington Brownlow Cust, 3rd Earl Brownlow, GCVO, PC, MP (1844-1921), John William Spencer Brownlow Egerton-Cust, 2nd Earl Brownlow (1842-1867) |
 Watts Gallery – Artists' Village |
吉尔福德 | 3 | After the Deluge, Laura Gurney (later Lady Troubridge) |
 芝加哥艺术学院 |
芝加哥 | 2 | Time, Death and Judgment, A Lamplight Study: Herr Joachim |
选择一个年代，探索定义该时代的原创杰作。
The composition centers on a woman positioned in the foreground, surrounded by several male figures within a field of grain. The scene depicts a pastoral harvest under diffused, natural sunlight. The woman is flanked by men engaged in the act of gleaning or harvesting. Vertical lines are established by the standing men and the stalks of wheat. The color palette is dominated by warm ochres, golds, creams, and deep blues.…
A mountain of white hair and beard dominates the frame. It is a landscape of frost against the deep, dark shadows of the background. The subject, Theophilos Kairis, sits in a quiet, centered stillness. His skin is a map of fine lines and weathered textures, etched by years of thought and struggle. Light falls from the upper left, catching the ridge of a forehead and the deep-set hollows of the…
The air in the room feels heavy, thick with the weight of a life lived in the public eye. An elderly man sits before us, his presence commanding a quiet, somber authority that seems to pull the shadows closer. This is William Ewart Gladstone, captured in a moment of profound introspection. He does not look away; instead, his gaze meets the observer directly, piercing through the veil of years with…
The seventeen-year-old Ellen Terry sits in profile, her gaze fixed upon a quiet internal struggle. In one hand, she holds violets, their scent subtle and sweet; in the other, camellias, which offer a lush appearance but lack fragrance. This tension between the fragrant and the merely beautiful reflects a deeper meditation on virtue. The composition is tightly cropped, focusing on her face, neck, and clasped hands against a dark, heavy…
The air feels heavy with the weight of an impending storm as we gaze upon this monumental scene. A group of figures moves through a turbulent landscape, their bodies etched with a sense of solemn purpose. They walk toward the edge of a vast body of water, their postures caught in a delicate balance between apprehension and a quiet, stubborn determination. Behind them, the rugged peaks of Dartmoor rise like…
在《希望》的核心之处，坐落着一位被面纱笼罩的女性，面纱遮住了她的容颜，却掩盖不住她身上散发出的那股不容忽视的内在力量。她坐落在一个球体之上——这不仅是世俗琐事与生存重担的有力象征——身体正以一种优雅而细腻的姿态，向着那把破旧的里拉琴微微前倾。她的姿态本身便蕴含着无尽的深意：那并非狂乱的行动或绝望的渴求，而是一种耐心的倾听，一种对残存之物的静默吸收。她的双手在脸前交叠，既像是在进行深刻的内省，又像是一种保护性的姿态，仿佛在试图将自己与周围那令人窒息的寂静隔绝开来。这并非一场对希望的凯旋式宣言，而是一种对希望之可能性的迟疑、甚至近乎脆弱的接纳。艺术家刻意避开了对苦难的浪漫化处理，转而呈现出一种对脆弱性既原始又诚实的描绘——这是一种深刻的认知：希望并不总是喧嚣或热烈的，它往往是在灵魂最幽静的角落里，发出的轻声细语。
After the Deluge is a Symbolist oil painting by George Frederic Watts. The work depicts a scene from the story of Noah's Flood, specifically the moment when Noah opens the window of the Ark to see that the rain has stopped, though the floodwaters have not yet subsided. The composition is a stylized seascape dominated by a bright sunburst that breaks through the clouds, with light projecting beyond the edges…
In this 1866 oil on canvas, we find ourselves standing before a scene of profound gravity. The composition is anchored by two figures who seem caught in a moment of eternal transition. On the left, a muscular man grips a tall wooden staff, his gaze fixed forward with a look that balances resolution against a deep, quiet melancholy. Beside him, a woman is draped in heavy, white classical fabric; her…
希望 (1886)，泰特不列顛美术馆, 伦敦。紧随其后的是 Ellen Terry (1864) 和 The Minotaur (1885)。
69岁：希望创作于1886年，乔治·弗雷德里克·沃茨出生于1817年。
希望, Ellen Terry, The Minotaur, Chaos, After the Deluge, (William) Edward Hartpole Lecky, Theophilos Kairis (1784 - 1853), Sir Charles Wentworth Dilke, 2nd Bt, Time, Death and Judgment 及 Virginia Dalrymple (1850-1922)。上方排名显示了每件作品的创作年份及馆藏机构。
我们的目录收录了 244 件 乔治·弗雷德里克·沃茨 的作品，创作年代从 1836 年至 1901 年。
多见于 国家肖像美术馆 (伦敦), 伯明翰博物馆与美术馆 (伯明翰) 及 泰特不列顛美术馆 (伦敦)。上方的博物馆列表列出了所有相关机构。
在 1860s 期间：本页 100 件作品中有 25 件创作于该时期，其中包含 Ellen Terry 件作品。
在本页面中，最早的作品创作于 Ruth and Boaz (1836)，最晚的创作于 Charles Booth (1901)。
Man (63), Portrait (40) 及 Beard (29)，共计 100 件作品。
Oil On Canvas，共计 84 件（本页共有 100 件作品）。
根据本页面的原作，象征主义运动
Ellen Terry, (William) Edward Hartpole Lecky 及 Sir Charles Wentworth Dilke, 2nd Bt：国家肖像美术馆, 伦敦收藏了本页中 42 件作品。
1817年2月23日，乔治·弗雷德里克·沃茨出生于伦敦马里波恩。他的童年时光在两种截然不同的氛围中交织：一方面是身为钢琴制造师的父亲那份沉静而勤勉的匠心，另一方面则是幼年丧母所带来的沉重阴影。这段早年的丧亲之痛在他性格中留下了深刻的烙印，或许正是这种情感的底色，赋予了他日后艺术创作中那份引人深思的内省深度。尽管在成长的关键时期，他的身体素质较为脆弱，但在艺术学习的过程中，他那稳健的笔触与对形态的敏锐洞察力已初露锋芒。
十岁那年，这个男孩的天赋找到了真正的指引方向，他在威廉·贝恩斯的指导下开始学习雕塑艺术。这种对三维形态的早期沉浸，使他在将全部注意力转向画布之前，便已深刻理解了形体的重量感与存在感。到了十八岁时，他的雄心壮志已不再局限于私人画室。1835年，他正式进入皇家艺术学院深造，试图进一步磨炼自孩童时期起便已萌芽的艺术直觉。
1843年，雄心壮志与命运的眷顾开始将这位年轻的艺术家推向更宏大的舞台。那一年，他为新议会大厦壁画设计竞赛提交了一幅素描作品，并凭借此作荣获一等奖。这次成功为他开启了新的大门，引领他远离伦敦熟悉的街道，走向温暖的意大利。在1843年至1847年间，这段旅程从根本上重塑了他的艺术视野。在意大利的土地上，他得到了英国大使亨利·福克斯的提携，这段交情不仅为他在成长期提供了社交圈层，更在精神层面给予了他深厚的思想滋养。
早期成就所积累的势头，最终让他回到了为国家服务的道路上。他受命承担了一项重要的委任任务，为议会大厦创作湿壁画，这项宏伟的工程在1848年至1853年间占据了他的双手与心智。这项工作不仅要求艺术家对宏大尺度有着精湛的掌控力，更需要深刻理解艺术应如何栖居于政府机构那纪念碑式的空间之中。通过这些公共职责以及在欧洲腹地漫游的时光，他的艺术逐渐脱离了简单的写实表现，转而向那些定义了他晚年艺术生涯的宏大寓言主题演进。
乔治·弗雷德里克·沃茨的艺术抱负往往指向人类存在的宏大尺度，试图通过笔触去勾勒灵魂的版图。他曾构思过一个名为“生命之屋”的宏伟计划，这是一组旨在阐释人类精神演变与起源的壁画系列。尽管由于缺乏赞助，这一宏大系列的规模未能完全实现，但其中关于爱与生命的母题却始终萦绕在他的画笔之间，挥之不去。1864年，他的目光转向了鲜活的生命，在为女演员艾伦·泰瑞创作的肖像画中，他不仅捕捉到了她的容貌，更试图攫取她灵魂的本质。
人类经验的沉重感，常通过他那些寓言式的构图得以体现。1875年，他创作了《混沌》，这部作品通过哲学沉思的视角，探讨了人类与自然世界之间的交织关系。这种对象征主义的追求在1886年随着《希望》的完成而达到了深邃的巅峰。这幅作品存在两个版本，在忧郁的蓝色调景观中，呈现出一个充满静默力量与决心的身影。它并非在提供廉价的乐观主义，而是描绘了一种在黑暗中对光明的顽强追寻，以及那种脆弱与坚韧并存的生命状态。
他的笔触中蕴含着一种永不满足的雄心，试图通过布面油彩这一媒介，去捕捉那些肉眼不可见的精神世界。在漫长而多产的艺术生涯中，他创作了约800幅画布，每一幅作品都是他在漫长的演进过程中，为寻找一种能够承载人类经验厚度的视觉语言而迈出的坚实一步。他从未满足于对现实生活的简单模仿；相反，他致力于将灵魂深处的内在挣扎转化为具体的形态与色彩。这种驱动力引领他从象征主义运动中严谨的寓言结构，自然而然地转向了更为简约、更具现代感的抽象表达。他的作品往往横跨两个世界，在维多利亚时代的浪漫象征主义与现代主义初露端倪的感性审美之间，架起了一座沟通的桥梁。
在晚年时期，他笔下主题的清晰轮廓开始让位于一种更为深邃、更趋本质的观察方式。他被一种宇宙式的综合感所吸引，利用反复出现的意象和寓言式的呈现，去探索人类力量与愚昧的深渊。他常常偏好描绘闭目沉思的主体，这一选择揭示了他早期对潜意识领域的浓厚兴趣。这种技法使他能够超越个人面部特征的局限，去触及某种更具普世性的真理。他的笔触与色彩运用从未意在追随时代的浮华时尚，而是旨在挖掘个体心灵的深处，去探寻那些他认为隐藏在可见世界表象之下的永恒真理。
乔治·弗雷德里克·沃茨的艺术远见在其辞世后依然散发着持久的影响力，并使他于1902年荣获大不列颠勋章（Order of Merit）。这份殊荣见证了他的一生——那是通过色彩与石材，去追寻人类生存境遇中深邃真理的漫长旅程。时至今日，他的精神依然在各大艺术殿堂中回荡，那些画布静静地悬挂在展厅中，无声地邀请着每一位观者进行深沉的冥想。在伦敦，泰特不列颠美术馆收藏了他的多件重要杰作，为穿梭于画廊间的艺术爱好者保留了那些寓言探索的厚重分量。
若要全面领略他创作生涯的广度与深度，位于吉尔福德的沃茨美术馆——艺术家村则是一处守护他记忆的圣地。这座美术馆致力于保护艺术家的毕生心血，拥有规模最大的乔治·弗雷德里克·沃茨绘画、素描及雕塑收藏。在这里，那个时代的艺术氛围依然清晰可感，让观者得以在一种与艺术家灵魂深度共鸣的环境中，直面他那宏大而壮阔的艺术抱负。
