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Autorská práva Toto dílo je volno v rámci veřejného vlastnictví. William Hoare zemřel(a) v roce 1792; autorská práva trvají 70 let po smrti umělce, takže vypršela v roce 1862.
V kontextu
Henry, Lord Herbert — William Hoare
Horní řada: roky. Dolní řada: věk umělce na začátku a na konci každého období — 0 při narození, 85 při smrti.
Shaded: životopis William Hoare (1707–1792) každý obraz s datem vzniku, dekáda po dekádě
První díla: až do 1750 Hlavní období tvůrčí činnosti: 1750–1763 Pozdní díla: od 1763
Tyto tři pásma rozdělují díla s uvedeným datem na první čtvrtinu, prostřední polovinu a poslední čtvrtinu. Nejedná se o kompletní tvorbu daného umělce: úzká pásma mohou představovat spíše mezery v záznamech než období nečinnosti. Ty samé roky, v nichž se odehrává život umělce
U tohoto záznamu není uvedeno přesné datum — vzhledem k délce života umělce a stylu díla, jaké desetiletí byste odhadli?
Vyberte si jedno z výše uvedených děl: uveďte dvě věci, které má společné s tímto dílem, a jednu věc, ve které se liší.
Další díla, která se k tomuto hodí: artsdot.com/cs/art/similar/william-hoare-henry-lord-herbert-9CW5FD-en/
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Deset nejvýznamnějších zemí
Najděte na mapě tři nejtmavší země. Nachází se v některé z nich muzeum, které toto malířské dílo uchovává? Napište jeden důvod, proč by se na něj mohli dívat lidé z dalekých krajin.
Tyto práce společně si nárokují 100,0% veškeré pozornosti, kterou obrazy tohoto umělce obdržely za posledních dvanáct měsíců. Katalog obsahuje 34 děl tohoto umělce, z nichž 5 byla prohlédnuta alespoň jednou. Tento obraz se řadí na 2 místě, přičemž si připomíná 20,0% této pozornosti (100 návštěv). Stále stejné, měsíc po měsíci
Sloupce měří pozornost, nikoliv kvalitu. Vyberte dílo na vrcholu a toto: uveďte jednu věc, která by mohla způsobit, že si obraz získá slávu mimo to, jak je vymalovaný.
Umělec a muzeum
Narozen(a) v Eye, United Kingdom
Born around 1707 in Eye, Suffolk, William Hoare’s life and career unfolded within the elegant confines of Bath, Somerset, a city rapidly establishing itself as a fashionable resort during the latter half of the 18th century. While not a flamboyant figure like his later contemporary, Thomas Gainsborough, Hoare nonetheless played a crucial role in shaping the visual landscape of Bath through his meticulous and subtly engaging portraiture. His work, characterized by a restrained elegance and an acute awareness of light and texture, offers a fascinating glimpse into the social dynamics and artistic sensibilities of Georgian England.
Hoare’s early training remains somewhat shrouded in mystery, though it is believed he studied under Giuseppe Grisoni in Italy, absorbing the techniques of portraiture prevalent at the time. This Italian sojourn proved formative, equipping him with a foundational understanding of composition and technique before settling into Bath around 1739. He quickly established himself as the city’s leading oil painter and pastel artist, catering to a clientele that included prominent local figures – merchants, landowners, and members of the gentry. Unlike some of his contemporaries who embraced dramatic theatricality in their portraits, Hoare favored a more understated approach, capturing the personalities of his subjects with quiet dignity and an appreciation for subtle details.
Hoare’s artistic development is particularly evident in his evolution from primarily commissioned portraiture to incorporating elements of landscape. His early works are largely formal studies of individuals, often rendered in a polished, almost idealized style. However, as he matured, he began to infuse his portraits with carefully observed details of the Bath environment – glimpses of the Royal Combe, the River Avon, or the elegant facades of Bath’s buildings. This integration of landscape not only enriched the narrative quality of his portraits but also demonstrated a growing sensitivity to the interplay between figure and setting. His work reflects the prevailing taste for picturesque views that were gaining popularity during this period.
A significant aspect of Hoare's career was his involvement with the Royal Hospital for Seamen, Greenwich. Beginning in 1707, he collaborated with James Thornhill on the magnificent Painted Hall, a vast fresco depicting scenes from British naval history. This monumental undertaking showcased Hoare’s technical skill and provided him with invaluable experience working on large-scale decorative projects. The influence of this work can be seen in his later portraits, particularly in their careful attention to detail and compositional balance. He continued to contribute to the hall until 1727, a testament to his dedication and artistic versatility.
Hoare’s legacy extends beyond his individual works; he was also one of the founders of the Royal Academy of Arts in London in 1769. This marked a pivotal moment in British art history, signaling a shift towards professionalization and public access to artistic creation. His election to the RA underscored his standing as a respected artist within the burgeoning London art scene. William Hoare died in Bath on December 12th, 1792, leaving behind a substantial body of work that continues to be admired for its quiet elegance, technical skill, and subtle engagement with the world around him. His portraits offer a valuable window into the social and cultural life of Georgian Bath, revealing a city striving to establish itself as a center of fashion, leisure, and artistic patronage.
Portrait of Sir William Whetstone (c. 1740s): A prime example of Hoare’s restrained style, capturing the subject's character with subtle details and a carefully balanced composition. The use of pastel lends a delicate softness to the portrait.
A Plantation in Suriname (circa 1735-1740): This work demonstrates Hoare’s growing interest in landscape, integrating a detailed depiction of a tropical plantation into a formal portrait. It showcases his ability to combine figure and setting with skill and sensitivity.
The Gust (circa 1750): A dynamic composition featuring a group of figures engaged in a lively scene, demonstrating Hoare’s mastery of capturing movement and interaction within a portrait.
His work with James Thornhill on the Painted Hall at Greenwich highlights his technical proficiency and understanding of large-scale decorative painting.
Hoare’s artistic development was shaped by several key influences. The Italian portraiture he studied during his formative years provided him with a solid foundation in technique and composition. The prevailing taste for picturesque views, exemplified by artists like Canaletto and Claude Lorrain, influenced his integration of landscape into his portraits. Furthermore, the Royal Academy’s emphasis on professionalism and public access to art reflected a broader shift within the British art world during the late 18th century.
He was part of a generation that moved away from the highly ornate Baroque style towards a more restrained and naturalistic approach. His work can be seen as a bridge between the formal portraiture of the early 18th century and the looser, more expressive styles of later artists like Gainsborough.
William Hoare’s contribution to British art is often understated, overshadowed by the more flamboyant figures of his contemporaries. However, his meticulous portraits offer a valuable insight into the social and cultural life of Georgian Bath. His work reflects the city's aspirations as a center of fashion, leisure, and artistic patronage. His involvement with the Royal Hospital for Seamen at Greenwich further cemented his place in British art history, demonstrating his versatility and technical skill.
Hoare’s legacy extends beyond his individual works; he was one of the founders of the Royal Academy of Arts, a pivotal moment in the professionalization of British art. His election to the RA underscored his standing as a respected artist within the burgeoning London art scene. Today, Hoare's portraits are admired for their quiet elegance, technical skill, and subtle engagement with the world around him.
artsdot.com/cs/art/download/william-hoare-henry-lord-herbert-9CW5FD-en/
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Henry, Lord Herbert — William Hoare
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Paleta díla „Henry, Lord Herbert“ od William Hoare je popsána jako Neutrals. Jde o stručný popis barevného zpracování tohoto díla.
Dílo „Henry, Lord Herbert“ od William Hoare je protknuto Golden Yellow Range odstínem.
Digitální obraz díla „Henry, Lord Herbert“ od William Hoare si můžete stáhnout na stránce s k dispozici pro stažení Stažení digitální verze: stažení digitálního obrazu ve vysokém rozlišení.