A Bay Horse in a Field (1778)はJohn Boultbeeの代表作として知られる作品であり、ニューヘイブンにあるイェール英国美術館に収蔵されています。 Cornet Thomas Boothby Parkyns (1755–1800), 15th (or the King’s) Regiment of (Light) Dragoons (1780)と'Brindled Beauty', Sire Shakespeare Dam Long-horned Beauty sold for 260 Guineas at public auction (1792)が加わり、最も愛されている3枚のキャンバスが揃いました。 John Boultbeeによる作品は、当カタログに24点収められています。ここでは、制作年、所蔵美術館、そして各作品の背景とともに、最も有名な21点をご紹介します。
各作品の検索数、閲覧数、および注文数を組み合わせた当サイトの人気スコアに基づきランキングを作成しています。最終更新：11月 2026 このページに掲載されている各作品は、リネンキャンバスに手描きで制作する油彩複製画、またはご希望のサイズに合わせて作成するファインアートプリントとしてご注文いただけます。
A Bay Horse in a Field is an oil on canvas painting by the artist John Boultbee. This work dates to about 1778. The piece is currently held within the Paul Mellon Collection. The subject is a single bay horse situated within a pastoral landscape.
In this 1780 oil portrait, we find Thomas Boothby Parkyns, depicted during his tenure as a cornet in the 15th Regiment of (Light) Dragoons. He sits poised atop a sturdy brown horse, his figure draped in the distinctive red uniform of his regiment. There is a quiet authority in his posture, a sense of a man accustomed to the saddle and the responsibilities of his rank. He holds a sword,…
In "'Brindled Beauty', Sire Shakespeare Dam Long-horned Beauty sold for 260 Guineas at public auction" by John Boultbee, a single cow commands the center of a quiet pastoral landscape. The animal rests horizontally across the middle ground, its body turned toward the left as if pausing mid-stride. The composition focuses entirely on this central figure, using the animal's presence to anchor the surrounding scenery. Organic shapes define the scene, from…
A Grey Arab Stallion in a Desert Landscape by John Boultbee presents a single white Arabian stallion moving through a desert terrain. The horse occupies the lower left to center foreground, its form set against a rugged, dark brown rocky outcrop that rises on the left side of the composition. Two slender palm trees provide verticality to the scene, breaking the horizontal expanse of the landscape. The background consists of…
In this oil painting on canvas, John Boultbee presents us with Robert Bakewell. Created about 1791, the work captures a quiet moment of authority within a pastoral setting. The subject is depicted seated atop a majestic brown horse, his presence commanding yet calm. He is dressed in a brown coat and a black hat, looking directly toward the viewer. This steady gaze establishes an immediate connection, inviting a sense of…
A man in a red uniform sits atop a white horse in this 1803 oil painting. He holds the reins with one hand, maintaining a steady posture while mounted. The horse is positioned centrally, its white coat contrasting against the darker elements of the composition. To the left, a tree rises from the ground, its branches extending into the frame. Two birds are visible within the scene: one occupies the…
In this work, An Oak Tree struck by Lightning in Dunham Park, John Boultbee captures a moment of profound natural disruption. Painted about 1808, the scene focuses on the aftermath of a violent atmospheric event within the confines of Dunham Park. The central subject is a singular oak tree, its trunk split and shattered by the force of a lightning strike. This sudden fracture creates a stark, pale focal point…
A Bay Hunter Named 'Sir Oliver' is an equestrian study by the English painter John Boultbee. Created about 1808, the work belongs to a period when Boultbee was establishing his reputation for capturing the specific anatomy and movement of horses. The piece focuses on a single subject, prioritizing the physical presence of the animal within its natural environment.
A singular oak tree dominates the composition, its skeletal branches stripped of foliage by a sudden celestial strike. The wood appears charred and lifeless, a stark silhouette against the surrounding forest. Nearby, the sheer force of the lightning has toppled other trees, leaving them sprawled across a floor of dirt and grass. This scene captures a moment of profound disruption within the quietude of Dunham Park.
これらのキャンバスに最も頻繁に描かれた4つの主題と、それぞれの代表作。
このページに掲載されている絵画を最も多く所蔵している 8 の美術館
| 美術館 | 都市 | John Boultbeeの作品 | このリストの絵画 |
|---|---|---|---|
 National Trust |
ミルフォード | 4 | 'Garrick' A Bullock, 'Garrick's Sister' A Cow, 'Broken Horned Beauty' A Cow |
 イェール英国美術館 |
ニューヘイブン | 2 | A Bay Horse in a Field, A Grey Arab Stallion in a Desert Landscape |
 Shugborough Hall |
ストーク・オン・トレント | 2 | 'Brindled Beauty', Sire Shakespeare Dam Long-horned Beauty sold for 260 Guineas at public auction, 'Garrick' A Bullock |
 National Trust |
アルトリンチャム | 2 | A Bay Hunter Named 'Sir Oliver', An Oak Tree struck by Lightning in Dunham Park |
 National Trust |
ストックポート | 2 | A Chestnut Horse in a Stable, A Horse and Groom outside a Porch |
 ナショナル・ポートレート・ギャラリー |
ロンドン | 1 | Robert Bakewell |
 Sherwood Rangers Yeomanry Museum |
Nottingham | 1 | Captain Ichabod Wright of Mapperley (1767–1862), Formed the First Nottingham Troop in 1794 |
 Dunham Massey Hall |
1 | An Oak Tree struck by Lightning in Dunham Park |
A Bay Horse in a Field is an oil on canvas painting by the artist John Boultbee. This work dates to about 1778. The piece is currently held…
In this 1780 oil portrait, we find Thomas Boothby Parkyns, depicted during his tenure as a cornet in the 15th Regiment of (Light) Dragoons. He sits poised atop…
In "'Brindled Beauty', Sire Shakespeare Dam Long-horned Beauty sold for 260 Guineas at public auction" by John Boultbee, a single cow commands the center of a quiet pastoral…
A man in a red uniform sits atop a white horse in this 1803 oil painting. He holds the reins with one hand, maintaining a steady posture while…
A Bay Horse in a Field (1778)（イェール英国美術館, ニューヘイブン）。続いてCornet Thomas Boothby Parkyns (1755–1800), 15th (or the King’s) Regiment of (Light) Dragoons (1780)、'Brindled Beauty', Sire Shakespeare Dam Long-horned Beauty sold for 260 Guineas at public auction (1792)が続きます。
1753年に生まれたJohn Boultbeeは25歳でした：A Bay Horse in a Fieldは1778年の作品です。
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, 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', An Oak Tree struck by Lightning in Dunham Park と 'Garrick' A Bullock。上記のランキングに掲載されている各キャンバスには、制作年と所蔵美術館が記載されています。
John Boultbeeによる作品が24点、1778年から1808年にかけてのものがカタログに掲載されています。
主にNational Trust (ミルフォード), イェール英国美術館 (ニューヘイブン) と Shugborough Hall (ストーク・オン・トレント)に所蔵されています。上記のリストには、各美術館とその所蔵作品が記載されています。
このページに掲載されている全21作品のうち、4作品が1800sの作品であり、その中にはCaptain Ichabod Wright of Mapperley (1767–1862), Formed the First Nottingham Troop in 1794が含まれます。
ここにある最も古いキャンバスはA Bay Horse in a Field (1778)、最も新しいものはAn Oak Tree struck by Lightning in Dunham Park (1808)です。
このページに掲載されている21点の作品におけるHorse (4), Grass (4) と Sky (3)
このページに掲載されている全21作品のうち、6作品にOil On Canvasが使用されています。
National Trust, ミルフォードには、このページに掲載されている作品のうち4点が所蔵されており、その中には'Garrick' A Bullock, 'Garrick's Sister' A Cow と 'Broken Horned Beauty' A Cowも含まれています。
はい。このページに掲載されているすべての絵画は、各作品の個別ページから、手書きの油彩複製画、またはお好みのサイズでのファインアートプリントとしてご注文いただけます。
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.
