A Bay Horse in a Field (1778) er det maleri, som John Boultbee er bedst kendt for; det befinder sig på Yale Center for British Art, New Haven. Cornet Thomas Boothby Parkyns (1755–1800), 15th (or the King’s) Regiment of (Light) Dragoons (1780) og 'Brindled Beauty', Sire Shakespeare Dam Long-horned Beauty sold for 260 Guineas at public auction (1792) fuldender trioen af de mest elskede lærreder. Vores katalog indeholder 24 værker af John Boultbee. Her er de 22 mest berømte, med årstal, museum og historien bag hvert lærred.
Rangordnet efter vores popularitetsscore, som kombinerer søgninger, besøg og ordrer for hvert værk. Opdateret november 2026. Hvert maleri på denne side kan bestilles som en håndmalet oliereproduktion på lærred, eller som et kunsttryk i den størrelse, du vælger.
De fire motiver, der optræder hyppigst på disse lærreder, hver med sit mest elskede eksempel.
De 8 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af John Boultbee | Malerier fra denne liste |
|---|---|---|---|
| Milford | 4 | 'Garrick' A Bullock, 'Garrick's Sister' A Cow, 'Broken Horned Beauty' A Cow | |
| New Haven | 2 | A Bay Horse in a Field, A Grey Arab Stallion in a Desert Landscape | |
| Stoke-on-Trent | 2 | 'Brindled Beauty', Sire Shakespeare Dam Long-horned Beauty sold for 260 Guineas at public auction, 'Garrick' A Bullock | |
| Altrincham | 2 | A Bay Hunter Named 'Sir Oliver', An Oak Tree struck by Lightning in Dunham Park | |
| Stockport | 2 | A Chestnut Horse in a Stable, A Horse and Groom outside a Porch | |
| London | 1 | Robert Bakewell | |
| Petworth | 1 | Two Pembrokeshire Oxen | |
| Nottingham | 1 | Captain Ichabod Wright of Mapperley (1767–1862), Formed the First Nottingham Troop in 1794 |
A Bay Horse in a Field (1778), Yale Center for British Art, New Haven. Cornet Thomas Boothby Parkyns (1755–1800), 15th (or the King’s) Regiment of (Light) Dragoons (1780) og 'Brindled Beauty', Sire Shakespeare Dam Long-horned Beauty sold for 260 Guineas at public auction (1792) følger efter.
John Boultbee, født i 1753, var 25 år gammel: A Bay Horse in a Field er fra 1778.
A Bay Horse in a Field, Cornet Thomas Boothby Parkyns (1755–1800), 15th (or the King’s) Regiment of (Light) Dragoons, 'Brindled Beauty', Sire Shakespeare Dam Long-horned Beauty sold for 260 Guineas at public auction, A Grey Arab Stallion in a Desert Landscape, Robert Bakewell, Two Pembrokeshire Oxen, Captain Ichabod Wright of Mapperley (1767–1862), Formed the First Nottingham Troop in 1794, An Oak Tree struck by Lightning in Dunham Park, A Bay Hunter Named 'Sir Oliver' og An Oak Tree struck by Lightning in Dunham Park. Hvert lærred i den ovenstående rangliste er angivet med årstal og museum.
24 værker af John Boultbee er i vores katalog, dateret fra 1778 til 1808.
Primært i National Trust (Milford), Yale Center for British Art (New Haven) og Shugborough Hall (Stoke-on-Trent); listen ovenfor nævner hvert museum og dets lærreder.
I 1790s, som udgør 4 af de 22 værker på denne side, herunder 'Brindled Beauty', Sire Shakespeare Dam Long-horned Beauty sold for 260 Guineas at public auction.
Det tidligste lærred her er A Bay Horse in a Field (1778); det seneste er An Oak Tree struck by Lightning in Dunham Park (1808).
Equestrian art (2), Landscape art (2) og Cow portrait (2), fordelt på de 22 værker på denne side.
National Trust, Milford har 4 af værkerne på denne side, herunder 'Garrick' A Bullock, 'Garrick's Sister' A Cow og 'Broken Horned Beauty' A Cow.
Ja. Hvert maleri på denne side kan bestilles fra sin egen side som en håndmalet oliereproduktion eller som et kunsttryk i den størrelse, du vælger.
John Boultbee (1753-1812) emerges from the annals of 18th and early 19th-century England as a remarkably versatile artist, primarily celebrated for his captivating equestrian paintings and evocative depictions of rural life. Born in Osgathorpe, Leicestershire, into a family with artistic leanings – his twin brother Thomas also pursued painting – Boultbee’s career unfolded against the backdrop of a rapidly changing Britain, marked by burgeoning commerce, evolving social structures, and a growing appreciation for landscape and sporting subjects. While often overshadowed by more prominent figures of the era, Boultbee's work offers a valuable window into the tastes, customs, and artistic sensibilities of his time.
Early influences undoubtedly stemmed from Sir Joshua Reynolds, whose presidency at the Royal Academy Schools in 1775 provided Boultbee with crucial training. The Academy’s emphasis on classical principles and naturalism shaped his initial style, evident in his early landscape paintings exhibited in 1776. However, Boultbee quickly developed a distinctive approach, particularly when it came to portraying horses – an obsession that would define much of his oeuvre. His fascination with these magnificent animals wasn't merely aesthetic; it reflected the growing importance of equestrian pursuits within British society, from hunting and racing to military displays. The influence of George Stubbs, a pioneering animal painter known for his anatomical accuracy and dynamic compositions, is readily apparent in Boultbee’s later works.
Boultbee's fortunes shifted dramatically with the patronage of King George III. Recognizing the artist’s skill in capturing the grace and power of horses, the monarch commissioned a series of portraits, solidifying Boultbee’s position within the highest echelons of British society. This royal favor afforded him a residence in Windsor Great Park, providing invaluable access to royal stables and allowing him to observe and paint these magnificent animals firsthand. The resulting paintings – often lavishly detailed and imbued with a sense of grandeur – became symbols of royal power and prestige.
Beyond the royal commissions, Boultbee’s artistic interests extended to depicting rural landscapes and sporting scenes. He frequently portrayed hunts, races, and other equestrian events, capturing the energy and excitement of these pursuits. His paintings offer a glimpse into the lives of the landed gentry, showcasing their leisure activities and reflecting the prevailing social values of the time. His depictions of cattle, particularly those commissioned for the Duke of Bedford, demonstrate an understanding of livestock breeds and agricultural practices – a testament to his keen observational skills.
Boultbee’s artistic style is characterized by a remarkable blend of technical skill and expressive flair. He possessed a deep knowledge of equine anatomy, meticulously rendering the musculature and movement of horses with impressive accuracy. His compositions are often dynamic and engaging, utilizing light and shadow to create a sense of depth and drama. While influenced by classical principles, Boultbee’s work is not overly formal or rigid; rather, it possesses a certain spontaneity and vitality.
His use of color is particularly noteworthy. He favored warm, earthy tones – browns, ochres, and greens – to evoke the natural beauty of the landscapes he depicted. He also employed subtle gradations of light and shadow to create a sense of atmosphere and mood. His later works often exhibit a delicate pinkish hue, possibly influenced by the prevailing fashion for pastel shades.
Despite not achieving widespread fame during his lifetime, John Boultbee’s work has since been recognized as an important contribution to British art history. His equestrian paintings are particularly valued for their technical skill, expressive quality, and historical significance. They offer a unique perspective on the social and cultural landscape of 18th-century Britain, reflecting the importance of horses in both military and sporting contexts.
Today, Boultbee’s paintings can be found in major museums and private collections throughout the United Kingdom. His legacy endures as a testament to his artistic talent and his ability to capture the spirit of his time. The Durham Ox, commissioned by John Day, remains an iconic image of British rural life, embodying the artist's skill and the enduring fascination with horses within British culture.