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John Flaxman Najobľúbenejšie obrazy

Najobľúbenejších 9 diel od John Flaxman, ktoré si naši návštevníci najčastejšie vyžadujú, usporiadaných podľa popularity a prezentovaných jednotlivo, spolu so špecifikáciou a cenou každej ručne maľovanou reprodukciou.

Vydanie 2026 · 9 diel Každý autorský obraz na mieru
Plátno z ľanového plátna · Certifikát autentičnosti · Globálne doručenie John Flaxman · 1755 – 1826

Monument to Vice-Admiral Horatio Nelson, John Flaxman

1808 · Katedrála svätého Pavla, Londýn

Admire John Flaxman's monumental marble statue of Vice-Admiral Horatio Nelson at St. Paul’s Cathedral, capturing his heroic legacy and naval triumphs with exquisite detail.

Pozrite si najobľúbenejšie dielo umelca John Flaxman na 1. mieste: Monument to Vice-Admiral Horatio Nelson

Umelecké smerovanie: Neoclassical Sculpture
Paleta farieb: Earthy

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Saint Michael Overcoming Satan od John Flaxman, 1842

1842 · Museo de Arte de Ponce, Ponce · originál 105 x 45 cm

Explore John Flaxman’s ‘Saint Michael Overcoming Satan,’ a bronze sculpture embodying faith & power. A neoclassical masterpiece showcasing dynamic battle & divine triumph.

Pozrite si najobľúbenejšie dielo umelca John Flaxman na 2. mieste: Saint Michael Overcoming Satan

Umelecké smerovanie: Neoclassical
Paleta farieb: Pastels

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Monument to Agnes Cromwell od John Flaxman, 1797

1797 · Katedrála v Chichester, Chichester

Experience neoclassical mourning art inspired by John Flaxman's style; this marble memorial captures timeless remembrance for your collection.

Pozrite si najobľúbenejšie dielo umelca John Flaxman na 3. mieste: Monument to Agnes Cromwell

Umelecké smerovanie: Neoclassical Sculpture

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The Fight for the Body of Patroclus, 1793, John Flaxman

1793 · Roy Miles gallery, Londín · originál 152 x 266 cm

Explore John Flaxman’s ‘The Fight for the Body of Patroclus,’ a dynamic black & white illustration inspired by classical art. A captivating study in hatching & geometric forms, perfect for art enthusiasts.

Pozrite si najobľúbenejšie dielo umelca John Flaxman na 4. mieste: The Fight for the Body of Patroclus

Umelecké smerovanie: Neoclassical
Paleta farieb: Pastels

Technika: Ručne maľované olejné plátno na ľne
Vyrobené: Na objednanie, od vy trained umelca
Popularita: Č. 4 z 9 diel umelca John Flaxman
Doprava: Celosvetovo približne 5 týždňov

od$17045 × 22 cm Objednať tento obraz

Illustration to the Iliad od John Flaxman

1795

Pozrite si najobľúbenejšie dielo umelca John Flaxman na 5. mieste: Illustration to the Iliad

Umelecké smerovanie: Neo Classicism
Paleta farieb: Neutrals

Technika: Ručne maľované olejné plátno na ľne
Vyrobené: Na objednanie, od vy trained umelca
Popularita: Č. 5 z 9 diel umelca John Flaxman
Doprava: Celosvetovo približne 5 týždňov

od$19545 × 22 cm Objednať tento obraz

The Fury of Athamas (1790) od John Flaxman

1790 · Ickworth, Suffolk County

Explore John Flaxman’s "The Fury of Athamas," a neoclassical marble sculpture depicting familial conflict. Admire its detailed realism & powerful narrative – a timeless masterpiece.

Pozrite si najobľúbenejšie dielo umelca John Flaxman na 6. mieste: The Fury of Athamas

Umelecké smerovanie: Neoclassicism
Paleta farieb: Neutrals

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Inferno od John Flaxman

1793 · Bibliothèque Nationale, Paríž · originál 160 x 270 cm

John Flaxman’s "Inferno" engraving captures the dramatic intensity of Dante’s descent into hell with neoclassical precision and masterful line work, offering a timeless exploration of morality and divine judgment.

Pozrite si najobľúbenejšie dielo umelca John Flaxman na 7. mieste: Inferno

Umelecké smerovanie: Neoclassical Style
Paleta farieb: Monochrome

Technika: Ručne maľované olejné plátno na ľne
Vyrobené: Na objednanie, od vy trained umelca
Popularita: Č. 7 z 9 diel umelca John Flaxman
Doprava: Celosvetovo približne 5 týždňov

od$32026 × 38 cm Objednať tento obraz

Odysseus v Podzemskom Svete (Odysseus in the Underworld), 1792, John Flaxman

1792 · Roy Miles gallery, Londín · originál 229 x 298 cm

Obraz od Johna Flaxman-a: Odyssej v podzemí! Epická ilustrácia z Homéra, detailná kresba s perom a fixom. Neoklasicizmus, temné črtanie, bojové scény, Grécka mytológia.

Pozrite si najobľúbenejšie dielo umelca John Flaxman na 8. mieste: Odysseus v Podzemskom Svete (Odysseus in the Underworld)

Umelecké smerovanie: Neoclassicism
Paleta farieb: Monochromatické

Technika: Ručne maľované olejné plátno na ľne
Vyrobené: Na objednanie, od vy trained umelca
Popularita: Č. 8 z 9 diel umelca John Flaxman
Doprava: Celosvetovo približne 5 týždňov

od$17035 × 28 cm Objednať tento obraz

Scylla od John Flaxman, 1793

1793 · Royal Academy of Arts, Londýn

Pozrite si najobľúbenejšie dielo umelca John Flaxman na 9. mieste: Scylla

Paleta farieb: Monochrome

Technika: Ručne maľované olejné plátno na ľne
Vyrobené: Na objednanie, od vy trained umelca
Popularita: Č. 9 z 9 diel umelca John Flaxman
Doprava: Celosvetovo približne 5 týždňov

od$17040 × 25 cm Objednať tento obraz

Umelec

John Flaxman

1755 – 1826

Rýchle fakty

Died1826
Best occasionsstatement
NationalityUnited States of America
Typical colorswhite
Museums on APSBibliothèque Nationale, Museo de Arte de Ponce, Royal Academy of Arts, Roy Miles gallery, Ickworth
Vibedramatic
Mediumsmarble
Topics exploredsculpture, mythology

Biografia

A Life Etched in Stone and Line

John Flaxman, born in York in 1755, emerged as a pivotal figure bridging the gap between the waning Rococo era and the ascendant Neoclassical movement in Britain. His story is one of remarkable artistic evolution, fueled by both innate talent and diligent study. From humble beginnings assisting his father, a moulder of plaster casts, young John absorbed an early appreciation for form and texture. This practical grounding, coupled with a voracious appetite for classical literature – pursued largely through self-education – laid the foundation for a career that would redefine British sculpture and illustration. His childhood was marked by illness and loss; his mother’s death when he was nine years old profoundly shaped his introspective nature. Yet, even in these early years, his artistic promise shone brightly, winning him accolades from the Society of Arts at just twelve years old. This initial success propelled him into the orbit of London's burgeoning art scene, where friendships with William Blake and Thomas Stothard would prove formative, fostering a lifelong exchange of ideas and creative energy.

Wedgwood and the Classical Ideal

Flaxman’s artistic trajectory took a significant turn with his employment by Josiah Wedgwood in 1775. This association wasn't merely a source of income; it was an immersive apprenticeship in translating classical motifs into commercially viable art forms. Modeling reliefs for Wedgwood’s renowned jasperware and basaltware demanded precision, economy of line, and a deep understanding of antique design. The influence of d’Hancarville’s engravings of Greek vases proved particularly potent, shaping Flaxman's aesthetic sensibility towards streamlined elegance and narrative clarity. Designs like the *Apotheosis of Homer* and the *Dancing Hours* weren’t simply decorative elements; they were distillations of classical mythology and allegory, rendered with a newfound emphasis on linear grace. This period honed his skills in relief sculpture, a medium he would masterfully employ throughout his career, particularly in his funerary monuments. It was during this time that Flaxman began to cultivate the style for which he became celebrated – a delicate balance between classical purity and emotional resonance.

Roman Reveries and Illustrative Triumph

A transformative journey to Rome in 1787 marked a turning point in Flaxman’s artistic development. Funded partly by Wedgwood, this extended sojourn allowed him to immerse himself directly in the heart of antiquity. He studied not only classical sculpture but also medieval and Renaissance art, broadening his understanding of artistic traditions. More importantly, it was in Rome that he began producing the book illustrations that would secure his lasting fame. Commissions followed for editions of Homer’s *Iliad* and *Odyssey*, Dante’s *Divine Comedy*, and Aeschylus' tragedies. These weren’t mere accompaniments to the text; they were independent works of art, characterized by their stark simplicity, dynamic compositions, and masterful use of line. The illustrations, engraved by figures like Tommaso Piroli, resonated deeply with European audiences, earning Flaxman widespread acclaim – Goethe famously hailed him as “the idol of all dilettanti.” His designs for Dante’s *Divine Comedy*, in particular, proved profoundly influential, inspiring artists such as Goya and Ingres and serving as a crucial resource for art students throughout the 19th century.

Monuments to Memory and Lasting Legacy

Upon his return to England, Flaxman established himself as a leading sculptor of funerary monuments. He approached these commissions with a unique sensitivity, eschewing ostentation in favor of restrained elegance and heartfelt emotion. His memorials – found in churches across England, including those dedicated to Thomas Chatterton, Mrs. Morley, and the Rev. Thomas Ball – are characterized by their simplicity, pathos, and rhythmic design. The monument to George Stevens, now housed in the Fitzwilliam Museum, exemplifies his ability to convey profound grief and enduring remembrance through subtle yet powerful forms. While he achieved recognition as a professor of sculpture at the Royal Academy in 1810, it is perhaps his illustrations that cemented his place in art history. John Flaxman’s work represents a synthesis of classical ideals, technical mastery, and emotional depth. He left an indelible mark on British art, influencing generations of artists with his elegant style and unwavering commitment to the power of line. His legacy continues to inspire, reminding us of the enduring beauty and profound meaning that can be found in both stone and ink. He remains a testament to the transformative power of artistic vision.

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Kvapozvuk pre zberateľa

John Flaxman is best known as a leading figure in which artistic style?
Before becoming a renowned sculptor, Flaxman worked for which famous pottery company?
Flaxman gained significant recognition through his illustrations of which literary works?
Where did Flaxman spend several years studying classical art and producing early book illustrations?
What type of artwork comprised the bulk of Flaxman's output during much of his career?

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