Aktualizacja: Listopad 2026 · ranking według naszego wskaźnika popularności (liczba wyszukiwań, wizyt i zamówień dla każdego dzieła) · 25 dzieł John Wright Oakes w naszym katalogu
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Najpopularniejszym dziełem wśród obrazów John Wright Oakes jest Moonlight, Near Cemmaes, Anglesea (1871). Na drugim i trzecim miejscu: A North Devon Glen, Autumn (1870) oraz Slate Quarries, Llanberis (1847). Nasz katalog zawiera 25 dzieł autorstwa John Wright Oakes. Wymienione poniżej 25 pozycji to najsłynniejsze z nich, uszeregowane według rangi, wraz z rokiem powstania i muzeum, w którym znajduje się oryginał.
In Moonlight, Near Cemmaes, Anglesea, John Wright Oakes captures a moment of profound stillness as the sun begins its descent or perhaps prepares to rise, casting warm, glowing hues across the sky. A tranquil landscape unfolds, centered around a quiet body of water that mirrors the shifting colors of the heavens. Upon this liquid surface, a small boat carries a single figure, a solitary presence that provides a sense of…
The Walker Art Gallery in Liverpool, United Kingdom, is home to an exquisite collection of fine and decorative arts, including the captivating painting A North Devon Glen, Autumn by John Wright Oakes. Created in 1870, this oil on canvas piece measures 124 x 167 cm and showcases the artist's exceptional skill in capturing the serene beauty of nature. The Painting's Composition The scene depicts a tranquil atmosphere, with a man…
Coast Scene with Fishing Boats and a Martello Tower, Jersey1877
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Mountain Stream, Glen Derry, Aberdeenshire, 'Like time the restless waters rush along'1873 · Touchstones Rochdale
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A coastal scene with figures by beached fishing boats in the foreground1887
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Cztery najczęstsze tematy w tym rankingu wraz z najważniejszym dziełem dla każdego z nich.
7 muzeów, w których znajduje się najwięcej obrazów z tej strony.
| Muzea | Miasto | Dzieła artysty John Wright Oakes | Obrazy z tej listy |
|---|---|---|---|
 Walker Art Gallery |
Liverpool | 3 | A North Devon Glen, Autumn, Morning at Angera, Lago Maggiore, The Tivey at Newcastle Emlyn, Cardiganshire |
 Nottingham Castle Museum And Art Gallery |
Nottingham | 2 | The Mouth of the River Derwent, A Sandy Bit of Road |
 Harris Museum - Art Gallery |
Preston | 1 | Slate Quarries, Llanberis |
 Ludlow Library - Museum Resource Centre |
Ludlow | 1 | Malltreath Bay |
 Laing Art Gallery |
Newcastle upon Tyne | 1 | Loch Muick, Aberdeenshire |
 New Walk Museum - Art Gallery |
Leicester | 1 | Picking up Wreckage on a Rocky Shore |
 Touchstones Rochdale |
Rochdale | 1 | Mountain Stream, Glen Derry, Aberdeenshire, 'Like time the restless waters rush along' |
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In Moonlight, Near Cemmaes, Anglesea, John Wright Oakes captures a moment of profound stillness as the sun begins its descent or perhaps prepares to rise, casting warm, glowing hues across the sky. A tranquil landscape unfolds, centered around a quiet body of water that mirrors the shifting colors of the heavens. Upon this liquid surface, a small boat carries a single figure, a solitary presence that provides a sense of…
Moonlight, Near Cemmaes, Anglesea (1871) zajmuje pierwsze miejsce, a następnie A North Devon Glen, Autumn (1870) i Slate Quarries, Llanberis (1847).
John Wright Oakes miał 51 lat: Moonlight, Near Cemmaes, Anglesea pochodzi z 1871, a John Wright Oakes urodził się w 1820.
Moonlight, Near Cemmaes, Anglesea, A North Devon Glen, Autumn, Slate Quarries, Llanberis, The Mouth of the River Derwent, Landscape, Woman by River, Barmouth, Malltreath Bay, Loch Muick, Aberdeenshire, Morning at Angera, Lago Maggiore i Picking up Wreckage on a Rocky Shore. Rok powstania oraz muzeum dla każdego z nich znajdują się w powyższym rankingu.
W naszym katalogu znajduje się 25 dzieł artysty John Wright Oakes, datowanych od 1847 do 1887.
Głównie w Walker Art Gallery (Liverpool), Nottingham Castle Museum And Art Gallery (Nottingham) i Harris Museum - Art Gallery (Preston). Pełna lista znajduje się w powyższej tabeli muzeów.
W okresie 1870s: 10 z 25 obrazów znajdujących się na tej liście pochodzi z tego czasu, w tym Moonlight, Near Cemmaes, Anglesea.
Najwcześniejsze na tej stronie: Slate Quarries, Llanberis (1847). Najnowsze: A coastal scene with figures by beached fishing boats in the foreground (1887).
Muzeum Walker Art Gallery, Liverpool posiada 3 z obrazów wymienionych na tej liście, w tym A North Devon Glen, Autumn, Morning at Angera, Lago Maggiore i The Tivey at Newcastle Emlyn, Cardiganshire.
Tak. Każdy obraz na tej stronie można zamówić jako ręcznie malowaną reprodukcję olejną lub wydruk. Otwórz obraz, wybierz rozmiar i złóż zamówienie.
In the heart of the Victorian era, a period defined by both industrial expansion and a profound romantic longing for the untouched natural world, the works of John Wright Oakes emerged as a poignant bridge between reality and imagination. Born in 1820 at Sproston House near Middlewich, Cheshire, Oakes was a man whose lineage and upbringing provided a stable foundation for a life dedicated to the pursuit of aesthetic truth. While his early years were rooted in the English countryside, his artistic spirit found its true home amidst the rugged, mist-shrouded peaks and dramatic coastlines of Wales. His journey from a student of fine details to a master of atmospheric grandeur represents one of the most compelling narratives of nineteenth-century British landscape painting.
Oakes’s formal training began in Liverpool, where he studied under the guidance of John Bishop at the school attached to the Liverpool Mechanics’ Institution. This early education instilled in him a meticulous discipline that would later serve as the bedrock for his more expansive works. Interestingly, his initial foray into the art world was not through the sweeping vistas for which he is now celebrated, but through the delicate and precise genre of fruit paintings. These early still lifes, exhibited at the Liverpool Academy—where he eventually served as an honorary secretary—demonstrated a profound understanding of texture, light, and form. However, around 1843, a transformative shift occurred; drawn by the raw power of nature, Oakes began painting directly from the landscape, trading the controlled environment of the studio for the unpredictable beauty of the outdoors.
The transition from still life to landscape allowed Oakes to explore the tenets of Romanticism, an art movement that prioritized emotion, the sublime, and the awe-inspiring power of the natural world. Influenced by the legendary techniques of masters like Turner and Constable, Oakes developed a signature style characterized by masterful tonal modulation and atmospheric perspective. He possessed a rare ability to capture the fleeting, ephemeral qualities of light—the way a sudden sunbeam pier sculpting through heavy clouds, or the soft, melancholic glow of twilight over a mountain glen. His canvases were not merely topographical records but emotional landscapes that invited the viewer to feel the dampness of the mist and the chill of the wind.
His technical prowess was particularly evident in his treatment of diverse terrains:
The trajectory of Oakes’s career was marked by consistent recognition from the most prestigious institutions of his time. His debut in London at the Royal Academy in 1847, featuring On the River Greta, Keswick, signaled his arrival as a significant force in British art. Throughout his prolific life, he became a regular contributor to the Society of British Artists, the Dudley Gallery, and the Portland Gallery. His accolades were numerous, including being elected an Associate of the Royal Academy in 1876 and receiving honorary membership in the Royal Scottish Academy in 1883. Even as ill health began to impede his physical practice in his final years, his dedication to the craft remained unshaken, continuing to exhibit at the Royal Academy until the very end.
Today, the historical significance of John Wright Oakes lies in his ability to have captured the vanishing essence of the nineteenth-century landscape. His works, now held in esteemed collections such as the Walker Art Gallery and the Nottingham Castle Museum, serve as windows into a world of sublime beauty and quiet contemplation. He remains a vital figure for anyone seeking to understand the Victorian fascination with the wild, untamed corners of the British Isles, leaving behind a legacy of over 300 canvases that continue to resonate with visual splendor and psychological depth.
