Kasım 2026 tarihinde güncellendi · popülerlik puanımıza göre sıralanmıştır (her bir eser için aramalar, ziyaretler ve siparişler) · 25 eser John Wright Oakes kataloğumuzda
Hızlı yanıt
John Wright Oakes'in tabloları arasında bir numara Moonlight, Near Cemmaes, Anglesea (1871)'tir. İkinci ve üçüncü sırada: A North Devon Glen, Autumn (1870) ve Slate Quarries, Llanberis (1847). Kataloğumuzda John Wright Oakes tarafından yapılmış 25 eser bulunmaktadır. Burada sıralanan 25 eser, her bir orijinalin yılı ve müzesiyle birlikte, en ünlülerden başlayarak sıralanmıştır.
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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The Tivey at Newcastle Emlyn, Cardiganshire1878 · Walker Art Gallery
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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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Bu sıralamadaki en sık rastlanan dört konu ve her biri için en iyi tablo.
Bu sayfadaki tabloların çoğuna ev sahipliği yapan 7 müze.
| Müze | Şehir | John Wright Oakes Eserleri | Bu listedeki tablolar |
|---|---|---|---|
 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' |
En iyi tablosunu görmek için bir on yıl seçin.
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) birinci sırada yer alırken, onu A North Devon Glen, Autumn (1870) ve Slate Quarries, Llanberis (1847) takip ediyor.
John Wright Oakes 51 yaşındaydı: Moonlight, Near Cemmaes, Anglesea 1871 tarihli bir eserdir ve John Wright Oakes 1820 yılında doğmuştur.
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 ve Picking up Wreckage on a Rocky Shore. Her birinin yılı ve müzesi yukarıdaki sıralamada yer almaktadır.
John Wright Oakes tarafından yapılan 25 eser, 1847 ile 1887 tarihleri arasında katalogumuzda yer almaktadır.
Ağırlıklı olarak Walker Art Gallery (Liverpool), Nottingham Castle Museum And Art Gallery (Nottingham) ve Harris Museum - Art Gallery (Preston) bünyesinde bulunmaktadır. Tam liste için yukarıdaki müze tablosuna bakınız.
1870s döneminde: Buradaki 25 tablodan 10 tanesi, Moonlight, Near Cemmaes, Anglesea dahil olmak üzere, o döneme aittir.
Bu sayfadaki en eski eser: Slate Quarries, Llanberis (1847). En yeni eser: A coastal scene with figures by beached fishing boats in the foreground (1887).
Walker Art Gallery, Liverpool, A North Devon Glen, Autumn, Morning at Angera, Lago Maggiore ve The Tivey at Newcastle Emlyn, Cardiganshire dahil olmak üzere burada sıralanan tablolardan 3 tanesine ev sahipliği yapmaktadır.
Evet. Bu sayfadaki tüm tablolar, el yapımı yağlı boya reprodüksiyon veya baskı olarak sipariş edilebilir. Tabloyu açın, boyutu seçin ve siparişinizi verin.
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.
