A Bay Horse in a Field (1778) je slika po kojoj je John Boultbee najpoznatiji; nalazi se u muzeju Yale Center for British Art, New Haven. Cornet Thomas Boothby Parkyns (1755–1800), 15th (or the King’s) Regiment of (Light) Dragoons (1780) i 'Brindled Beauty', Sire Shakespeare Dam Long-horned Beauty sold for 260 Guineas at public auction (1792) upotpunjuju triju najomiljenijih platna. Naš katalog sadrži 24 dela umetnika John Boultbee. Evo 21 najpoznatijih, sa godinom nastanka, muzejom i pričom o svakom platnu.
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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.
Četiri teme koje se najčešće pojavljuju na ovim platnima, svaka sa svojim najomiljenijim primerom.
8 muzeja u kojima se nalazi najviše slika sa ove stranice.
| Muzej | Grad | Radovi umetnika John Boultbee | Slike iz ovog spiska |
|---|---|---|---|
 National Trust |
Milford | 4 | 'Garrick' A Bullock, 'Garrick's Sister' A Cow, 'Broken Horned Beauty' A Cow |
 Yale Center for British Art |
New Haven | 2 | A Bay Horse in a Field, A Grey Arab Stallion in a Desert Landscape |
 Shugborough Hall |
Stoke-on-Trent | 2 | 'Brindled Beauty', Sire Shakespeare Dam Long-horned Beauty sold for 260 Guineas at public auction, 'Garrick' A Bullock |
 National Trust |
Altrincham | 2 | A Bay Hunter Named 'Sir Oliver', An Oak Tree struck by Lightning in Dunham Park |
 National Trust |
Stokport | 2 | A Chestnut Horse in a Stable, A Horse and Groom outside a Porch |
 National Portrait Gallery |
London | 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), Yale Center for British Art, New Haven. Prate ih Cornet Thomas Boothby Parkyns (1755–1800), 15th (or the King’s) Regiment of (Light) Dragoons (1780) i 'Brindled Beauty', Sire Shakespeare Dam Long-horned Beauty sold for 260 Guineas at public auction (1792).
John Boultbee, rođen/a 1753, imao/la je 25 godina: A Bay Horse in a Field datira iz 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, 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 i 'Garrick' A Bullock. Svako platno u gornjem rangiranju sadrži godinu nastanka i naziv muzeja.
U našem katalogu se nalazi 24 dela umetnika John Boultbee, datiranih od 1778 do 1808.
Većinom u National Trust (Milford), Yale Center for British Art (New Haven) i Shugborough Hall (Stoke-on-Trent); gornja lista navodi svaki muzej i njegova platna.
U 1800s, koji obuhvata 4 od 21 dela na ovoj stranici, među njima je i Captain Ichabod Wright of Mapperley (1767–1862), Formed the First Nottingham Troop in 1794.
Najstarije platno ovde je iz A Bay Horse in a Field (1778) godine; najnovije je iz An Oak Tree struck by Lightning in Dunham Park (1808) godine.
Horse (4), Grass (4) i Sky (3), kroz svih 21 dela na ovoj stranici.
Oil On Canvas, korišćeno u 6 od 21 dela na ovoj stranici.
Muzej National Trust, Milford čuva 4 dela sa ove stranice, među kojima su i 'Garrick' A Bullock, 'Garrick's Sister' A Cow i 'Broken Horned Beauty' A Cow.
Da. Svaku sliku sa ove stranice možete naručiti sa njene posebne stranice kao ručno oslikano ulje na platnu ili kao umetnički print, u veličini koju odaberete.
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.
