Opdateret november 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 1 værker af John Bird i vores katalog
Kort sagt
Det mest kendte maleri af John Bird er Street Scene in Chorley, Lancashire, with a view of Chorley Hall (1795), som du kan se på Yale Center for British Art i New Haven. Ud af 1 værker af John Bird i vores katalog er disse 1 de mest kendte. Hvert værk er ledsaget af årstal, museum og en kort note om, hvad der gør det bemærkelsesværdigt.
Det museum, der rummer flest af malerierne på denne side.
| Museum | By | Værker af John Bird | Malerier fra denne liste |
|---|---|---|---|
 Yale Center for British Art |
New Haven | 1 | Street Scene in Chorley, Lancashire, with a view of Chorley Hall |
1795 er det år, hvor alle daterede værker af John Bird på denne side blev skabt. Her er de, med de mest berømte først.
Vælg et årstal for at se værkerne fra det år.
Øverst på listen står Street Scene in Chorley, Lancashire, with a view of Chorley Hall (1795).
27 år gammel. John Bird blev født i 1768, og Street Scene in Chorley, Lancashire, with a view of Chorley Hall er fra 1795.
Vi har 1 værker af John Bird i vores katalog.
Du finder de fleste af dem i Yale Center for British Art (New Haven). Listen over museer ovenfor giver en fuldstændig oversigt.
Ja. Hvert maleri på denne side er tilgængeligt som en håndmalet oliereproduktion eller som et print i den størrelse, der passer dig. Åbn blot maleriets side for at bestille.
Born in Cardiff, John Bird lived a life defined by the precise lines of the surveyor and the observant eye of the draughtsman. His early years in Wales provided a foundation for a career that would bridge the gap between technical accuracy and artistic expression. By the time he was a young man, his talent for capturing the essence of a place was already being recognized through his contributions to significant publications.
In 1787, his drawings were featured in Principal Seats of the Nobility, a work that required a keen understanding of architectural detail and landscape. This period of his life saw him mastering the art of the topographical view, a discipline where the artist must balance the rigid requirements of a map with the fluid beauty of the natural world. He was not merely a painter but a man of many disciplines, working as an architect, surveyor, and illustrator.
Bird’s technical versatility allowed him to move between the delicate work of stipple engraving and the broader demands of landscape painting. His ability to translate three-dimensional structures onto a two-dimensional plane was essential to the topographical works of his era. His professional output was marked by a commitment to documenting the physical reality of the British landscape and its notable estates.
His professional repertoire included several distinct roles and associations:
The later years of his life took him away from his Welsh origins, eventually leading to his death in Whitby. While his name may not carry the weight of the grand romanticists, his work remains a vital record of a changing landscape. His drawings and engravings offer a window into the architectural and social geography of the late eighteenth and early nineteenth centuries.
Today, his traces are preserved in significant collections, including the National Museum of Wales in Cardiff. These holdings ensure that his contributions to the visual history of Wales and the wider United Kingdom are not lost to time. His legacy is found in the quiet accuracy of a well-drawn hall or the precise contour of a street scene in Lancashire.
