11月 2026 更新 · 当サイトの人気スコア（各作品の検索数、閲覧数、注文数）に基づくランキング · 25点の John Wright Oakesの作品がカタログにあります
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John Wright Oakesの代表作はMoonlight, Near Cemmaes, Anglesea (1871)です。 次に続くのは、A North Devon Glen, Autumn (1870)とSlate Quarries, Llanberis (1847)です。 当カタログにはJohn Wright Oakesによる作品が25点収められています。本ガイドでは、その中から最も有名な25作品を厳選し、制作年、所蔵美術館、そして各作品にまつわる物語とともにご紹介します。
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…
A North Devon Glen, Autumn is an oil on canvas by John Wright Oakes. The work measures 124 x 167 cm. It was created about 1870. This piece resides within the collection of the Walker Art Gallery in Liverpool, United Kingdom.
is an oil painting by John Wright Oakes, executed in 1847. The artist, born in 1820 in Cheshire West and Chester, United Kingdom, transitioned from the precise study of still-life fruit pieces to the direct observation of the natural landscape. This work emerged during a period of significant industrial expansion and a simultaneous romantic interest in the untouched natural world.
The landscape captures the confluence of the River Derwent, where the water meets the horizon under a vast, shifting sky. Mountains rise in the background, their forms softened by the heavy, moisture-laden air characteristic of the British Isles. A single boat floats upon the surface, a small, solitary presence amidst the expanse of the river. Scattered figures populate the banks, their scale emphasizing the quiet magnitude of the natural environment.…
Mountain Stream, Glen Derry, Aberdeenshire, 'Like time the restless waters rush along'1873 · Touchstones Rochdale
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これらの作品に最も頻繁に登場する4つの主題と、それぞれの代表的な例。
このページに掲載されている絵画を最も多く所蔵している 7 の美術館
| 美術館 | 都市 | John Wright Oakesの作品 | このリストの絵画 |
|---|---|---|---|
 ウォーカー・アート・ギャラリー |
リバプール | 3 | A North Devon Glen, Autumn, Morning at Angera, Lago Maggiore, The Tivey at Newcastle Emlyn, Cardiganshire |
 Nottingham Castle Museum And Art Gallery |
ノッティンガム | 2 | The Mouth of the River Derwent, A Sandy Bit of Road |
 Harris Museum - Art Gallery |
プレストン | 1 | Slate Quarries, Llanberis |
 Ludlow Library - Museum Resource Centre |
Ludlow | 1 | Malltreath Bay |
 レイング・アート・ギャラリー |
ニューカッスル・アポン・タイン | 1 | Loch Muick, Aberdeenshire |
 New Walk Museum - Art Gallery |
レスター | 1 | Picking up Wreckage on a Rocky Shore |
 Touchstones Rochdale |
ロッチデール | 1 | Mountain Stream, Glen Derry, Aberdeenshire, 'Like time the restless waters rush along' |
年代を選択して、その時代の代表作をご覧ください。
is an oil painting by John Wright Oakes, executed in 1847. The artist, born in 1820 in Cheshire West and Chester, United Kingdom, transitioned from the precise study of still-life fruit pieces to the direct observation of the natural landscape. This work emerged during a period of significant industrial expansion and a simultaneous romantic interest in the untouched natural world.
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…
リストのトップはMoonlight, Near Cemmaes, Anglesea (1871)です。それに続くのはA North Devon Glen, Autumn (1870)、そしてSlate Quarries, Llanberis (1847)です。
51歳。John Wright Oakesは1820に生まれ、Moonlight, Near Cemmaes, Angleseaは1871年の作品です。
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 と Picking up Wreckage on a Rocky Shore。制作年および所蔵美術館については、上記のリストをご参照ください。
当カタログにはJohn Wright Oakesによる作品が25点あり、制作時期は1847から1887にわたります。
その多くはウォーカー・アート・ギャラリー (リバプール), Nottingham Castle Museum And Art Gallery (ノッティンガム) と Harris Museum - Art Gallery (プレストン)で見ることができます。上記の美術館リストに詳細が記載されています。
1870sは、他のどの時期よりも多くの作品が集中しています。このページにある全25点のうち10点がその時代の作品であり、そのうちMoonlight, Near Cemmaes, Anglesea点が含まれます。
ここにある最も古い作品はSlate Quarries, Llanberis (1847)、最新の作品はA coastal scene with figures by beached fishing boats in the foreground (1887)です。
このページに掲載されている25点のうち、Boat (2), Water (2) と Rural landscape (2)点
このページに掲載されている全25点のうち、3点にOil On Canvasが使用されています。
ウォーカー・アート・ギャラリー, リバプールにあるA North Devon Glen, Autumn, Morning at Angera, Lago Maggiore と The Tivey at Newcastle Emlyn, Cardiganshireを含む3点の作品を、このページでご覧いただけます。
はい。このページに掲載されているすべての絵画は、お手持ちのスペースに合わせたサイズで、手描きの油彩複製画またはプリントとしてご購入いただけます。作品のページを開いてご注文ください。
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.
