11월 2026 업데이트 · 인기 점수 기준 순위 (각 작품의 검색, 방문 및 주문 수) · 25점의 John Wright Oakes 작품 (당사 카탈로그 기준)
요약하자면
John Wright Oakes의 대표작은 Moonlight, Near Cemmaes, Anglesea (1871)입니다. 다음 순서는 A North Devon Glen, Autumn (1870)와 Slate Quarries, Llanberis (1847)입니다. 저희 카탈로그에는 John Wright Oakes의 작품이 25점 수록되어 있습니다. 이 가이드에서는 가장 잘 알려진 25점을 선정하여 각 작품의 제작 연도, 소장 미술관 및 작품에 담긴 이야기를 소개합니다.
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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A coastal scene with figures by beached fishing boats in the foreground1887
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이 작품들에서 가장 자주 등장하는 네 가지 주제와 각 주제를 대표하는 대표작입니다.
이 페이지에 있는 작품을 가장 많이 소장하고 있는 7개의 미술관
| 소장 미술관 | 도시 | John Wright Oakes의 작품 | 이 목록의 작품들 |
|---|---|---|---|
 워커 아트 갤러리 |
리버풀 | 3 | A North Devon Glen, Autumn, Morning at Angera, Lago Maggiore, The Tivey at Newcastle Emlyn, Cardiganshire |
 Nottingham Castle Museum And Art Gallery |
노팅엄 | 2 | The Mouth of the River Derwent, A Sandy Bit of Road |
 Harris Museum - Art Gallery |
프레스턴 | 1 | Slate Quarries, Llanberis |
 Ludlow Library - Museum Resource Centre |
Ludlow | 1 | Malltreath Bay |
 Laing Art Gallery |
뉴캐슬 어폰 타인 | 1 | Loch Muick, Aberdeenshire |
 New Walk Museum - Art Gallery |
레스터 | 1 | Picking up Wreckage on a Rocky Shore |
 Touchstones Rochdale |
로치데일 | 1 | Mountain Stream, Glen Derry, Aberdeenshire, 'Like time the restless waters rush along' |
시대별 대표 작품을 확인해 보세요.
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…
리스트의 정점은 Moonlight, Near Cemmaes, Anglesea (1871)입니다. 그 뒤를 이어 A North Devon Glen, Autumn (1870), Slate Quarries, Llanberis (1847)가 있습니다.
51세. John Wright Oakes은(는) 1820년에 태어났으며, Moonlight, Near Cemmaes, Anglesea은(는) 1871년의 작품입니다.
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 및 Picking up Wreckage on a Rocky Shore. 위 목록에서 각 작품의 제작 연도와 소장 미술관을 확인하실 수 있습니다.
저희 카탈로그에는 1847년부터 1887년 사이에 제작된 John Wright Oakes의 작품 25점이 있습니다.
대부분의 작품은 워커 아트 갤러리 (리버풀), Nottingham Castle Museum And Art Gallery (노팅엄) 및 Harris Museum - Art Gallery (프레스턴)에서 만나보실 수 있습니다. 자세한 목록은 상단의 박물관 목록을 확인해 주세요.
1870s 기간은 그 어느 때보다도 많은 작품이 포함되어 있습니다. 이 페이지의 총 25점 중 10점이 해당 시기의 작품이며, 그중 Moonlight, Near Cemmaes, Anglesea점이 포함되어 있습니다.
가장 오래된 작품은 Slate Quarries, Llanberis (1847)이며, 가장 최근 작품은 A coastal scene with figures by beached fishing boats in the foreground (1887)입니다.
이 페이지의 총 25점 중 Boat (2), Water (2) 및 Rural landscape (2)점
이 페이지의 총 25점 중 3점에 Oil On Canvas이(가) 사용되었습니다.
워커 아트 갤러리, 리버풀에 있는 A North Devon Glen, Autumn, Morning at Angera, Lago Maggiore 및 The Tivey at Newcastle Emlyn, Cardiganshire을(를) 포함하여 이 페이지에서 3점의 작품을 확인하실 수 있습니다.
네, 이 페이지에 있는 모든 작품은 원하시는 사이즈의 수작업 유화 복제화 또는 프린트로 구매하실 수 있습니다. 작품 상세 페이지에서 바로 주문해 보세요.
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.
