Oppdatert November 2026 · rangert etter vår popularitetsscore (søk, besøk og bestillinger for hvert verk) · 1 verk av Daniel Casey i vår katalog
Kort fortalt
Daniel Caseys mest kjente verk er Baba-Ali, Arabian Horse of General Henri d'Orléans, Duke of Aumale (1852). Du finner det på Musée Condé i Chantilly. Vi har 1 verk av Daniel Casey i vår katalog; denne guiden har plukket ut de 1 mest kjente, med årstall, museum og historien bak hvert verk.
Museet som innehar flest av maleriene på denne siden.
| Museum | By | Verker av Daniel Casey | Malerier fra denne listen |
|---|---|---|---|
 Musée Condé |
Chantilly | 1 | Baba-Ali, Arabian Horse of General Henri d'Orléans, Duke of Aumale |
De daterte verkene av Daniel Casey på denne siden er alle fra 1852. Her er de, sortert etter berømmelse.
Velg et år for å se verkene fra det året.
Øverst på listen står Baba-Ali, Arabian Horse of General Henri d'Orléans, Duke of Aumale (1852).
32 år gammel. Daniel Casey ble født i 1820, og Baba-Ali, Arabian Horse of General Henri d'Orléans, Duke of Aumale er fra 1852.
Vi har 1 verk av Daniel Casey i vår katalog.
Du finner de fleste av dem i Musée Condé (Chantilly). Listen over museer gir en fullstendig oversikt.
Ja. Alle malerier på denne siden er tilgjengelige som håndmalte oljereproduksjoner eller trykk, i den størrelsen som passer deg. Åpne maleriets side for å bestille.
Born in Bordeaux to Irish parents, Daniel Casey lived a life shaped by the shifting landscapes of nineteenth-century Europe. His early years in France provided a foundation that would later merge with the rigorous training he received in Antwerp. It was within the walls of the Antwerp Academy that he formed a bond that would define much of his personal history, meeting and befriending Ford Madox Brown. The two young men shared more than just an education; they shared lodgings at the Hotel du Pot d'Etain, living through the shared struggles of student life on the Continent.
This companionship was marked by deep devotion and shared hardship. When tragedy struck the household in Paris in 1846, with the passing of Brown’s wife from consumption, Casey did not turn away. He lent his strength to the effort of raising funds to return her body to England, a gesture that spoke to the profound loyalty between the two artists. While Brown eventually returned to England, Casey remained rooted in France, finding his place within the French art scene and exhibiting his works at the Salon.
In his brushwork, Casey found a particular calling in the depiction of horses. He possessed an eye for the movement and temperament of these animals, often capturing them amidst the elements. His canvases frequently sought to portray the raw energy of nature, such as in his work Horses in a storm. There is a certain weight to his subjects, a sense of physical presence that suggests he understood the muscle and bone beneath the coat.
His repertoire included varied subject matter that moved between the dramatic and the observational:
Though he lived much of his life on the Continent, Casey’s influence reached beyond the borders of France. His death in Paris in 1885 marked the end of a life spent navigating the intersections of Irish heritage and French training. Even after his passing, the connections he maintained lived on through the memories of his peers. When he died, the loss was felt by those who had known him in the studios of Antwerp and the streets of Paris.
The historical footprint of his work remains visible in collections where his sketches and oils are preserved. A pencil drawing of him, created by Ford Madox Brown, resides in the Birmingham Museum and Art Gallery, serving as a quiet link to the shared history of two men who once navigated the art worlds of Europe together. His paintings continue to appear in the halls of auction houses, reminding viewers of a painter who found his true voice in the strength of the horse and the atmosphere of the French landscape.
