更新于 October 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） · 16 件 William Marlow 作品收录于我们的目录中
简而言之
在 William Marlow 留下的所有原作中，最著名的作品是 View of the Bay of Naples from Posillipo (1777)。 紧随其后的是 View of the Saône and the Château Pierre-Scize (Lyon, France) (1750) 和 The Temple Of Venus , Bay Of Baiae (1775)。 我们的目录收录了 William Marlow 的 16 件作品；画廊完整保留了 16 件享誉世界的杰作，并为每一件作品详细标注了创作日期、馆藏机构及其背后的故事。
View of the Bay of Naples from Posillipo by William Marlow captures a specific slice of the Italian coastline. Painted about 1777, the composition focuses on the waters and cliffs surrounding the Bay of Naples from the vantage point of Posillipo. The scene is anchored by the presence of the Vomero Hill, which rises above the coastal activity. Beyond this elevation, the Monastery of San Martino and the Castel Sant'Elmo…
收藏了本页中大部分画作的 8 家博物馆。
| 博物馆 | 城市 | William Marlow 的作品 | 此列表中的画作 |
|---|---|---|---|
 耶鲁英国艺术中心 |
纽黑文 | 3 | St. Paul's and Blackfriars Bridge, View on the River Thames at Richmond, Whitehall |
 明尼阿波利斯艺术学院 |
明尼阿波利斯 | 2 | View of the Saône and the Château Pierre-Scize (Lyon, France), Castle on the Rhne River, France |
 伯明翰博物馆与美术馆 |
伯明翰 | 2 | The Temple Of Venus , Bay Of Baiae, The Thames At Richmond |
 Basildon Park |
2 | View of San Nicolò di Castello, Venice, View of the Church of Santa Maria della Salute, Venice, looking East | |
 苏格兰国家美术馆 |
爱丁堡 | 1 | A View of the Château de Pierre Scize on the river Saône at Lyon |
 Anglesey Abbey |
1 | Distant View of Windsor Castle | |
 Fitzwilliam Museum |
1 | View near Naples | |
 新南威爾士藝術畫廊 |
悉尼 | 1 | San Giorgio Maggiore |
选择一个年代，探索定义该时代的原创杰作。
View of the Bay of Naples from Posillipo by William Marlow captures a specific slice of the Italian coastline. Painted about 1777, the composition focuses on the waters and cliffs surrounding the Bay of Naples from the vantage point of Posillipo. The scene is anchored by the presence of the Vomero Hill, which rises above the coastal activity. Beyond this elevation, the Monastery of San Martino and the Castel Sant'Elmo…
View of the Bay of Naples from Posillipo (1777)。紧随其后的是 View of the Saône and the Château Pierre-Scize (Lyon, France) (1750) 和 The Temple Of Venus , Bay Of Baiae (1775)。
37岁：View of the Bay of Naples from Posillipo创作于1777年，William Marlow出生于1740年。
View of the Bay of Naples from Posillipo, View of the Saône and the Château Pierre-Scize (Lyon, France), The Temple Of Venus , Bay Of Baiae, The Thames At Richmond, View on the Thames, A View of the Château de Pierre Scize on the river Saône at Lyon, St. Paul's and Blackfriars Bridge, Castle on the Rhne River, France, View on the River Thames at Richmond 及 View of San Nicolò di Castello, Venice。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 16 件 William Marlow 的作品，创作年代从 1750 年至 1806 年。
多见于 耶鲁英国艺术中心 (纽黑文), 明尼阿波利斯艺术学院 (明尼阿波利斯) 及 伯明翰博物馆与美术馆 (伯明翰)。上方的博物馆列表列出了所有相关机构。
在 1770s 期间：本页 16 件作品中有 9 件创作于该时期，其中包含 View of the Bay of Naples from Posillipo 件作品。
在本页面中，最早的作品创作于 View of the Saône and the Château Pierre-Scize (Lyon, France) (1750)，最晚的创作于 Distant View of Windsor Castle (1806)。
St. Paul's and Blackfriars Bridge, View on the River Thames at Richmond 及 Whitehall：耶鲁英国艺术中心, 纽黑文收藏了本页中 3 件作品。
Born in Southwark, London, William Marlow emerged as a distinguished figure in the late eighteenth-century art world, carving out a niche as an English landscape and marine painter and etcher. His artistic journey began under the mentorship of the marine painter Samuel Scott, with whom he studied for five formative years. This early training provided him with a foundational understanding of the sea and light, which would later define much of his repertoire. Seeking to refine his classical sensibilities, Marlow also attended the St. Martin's Lane Academy, an education that helped shape his ability to translate the natural world onto canvas and paper.
Marlow’s career was marked by a deep connection to both the British landscape and the vistas of continental Europe. On the advice of the Duchess of Northumberland, he embarked on a significant period of travel through France and Italy between 1765 and 1768. These journeys were not merely excursions but essential periods of artistic development, providing him with a wealth of sketches and impressions that would later inform his more mature works. Upon returning to London, he established himself within the city's vibrant artistic community, eventually taking up residence in Leicester Square.
The work of William Marlow is characterized by a delicate touch and an observant eye, particularly when capturing the shifting moods of water and sky. His technical repertoire was diverse, encompassing oils, watercolours, drawing, and etching. While some contemporary critics noted that his watercolour method leaned toward a more subtle tinting rather than bold structural advancement, they nonetheless praised the truthfulness and delicate colour found in his views of the Thames. His influence was clearly drawn from masters such as Richard Wilson and Canaletto, a fact evident in his ability to compose architectural fantasies and serene topographical scenes.
His subject matter often bridged the gap between the local and the exotic. He was frequently employed to paint views of country houses and contributed significantly to the documentation of Kew Gardens, producing watercolours for William Chambers's designs. Beyond the English countryside, his Italian sketches allowed him to explore more Mediterranean themes, even venturing into the realm of the capriccio—an architectural fantasy where he famously transposed St Paul's Cathedral into a Venetian setting. Whether engraving the bridges of Westminster and Blackfriars or capturing the moonlight over a ferry in Twickenham, Marlow possessed a unique ability to render both the monumental and the intimate.
Throughout his life, Marlow was an active participant in the institutional life of British art. He was a member of the Incorporated Society of Artists and later became a Fellow of the Society of Artists in 1771. His presence at major exhibitions was a constant, contributing to the exhibitions in Spring Gardens during the early 1760s and exhibiting regularly at the Royal Academy from the late eighteenth century until the early nineteenth century. His prolific output is evidenced by his total exhibition record, which includes:
Today, the historical significance of William Marlow is preserved through the enduring presence of his works in some of the world's most prestigious institutions. His ability to document the changing landscapes of his era ensures that his legacy remains a vital part of the English maritime and landscape tradition. Collectors and historians can find his traces in the following collections:
